Music

Supertramp: Crime of the Century / Crisis? What Crisis? / Even in the Quietest Moments / Breakfast

Will Harris

Supertramp

Crime of the CenturyCrisis? What Crisis?Even in the Quietest MomentsBreakfast in America

Label: A&M;
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Give a little bit MORE of your love to them. Because they've been re-mastered, you know . . .

When it comes to today's generation of pop groups, it's the letter B that gets all the glory when it comes to naming influences. The Beatles, the Beach Boys, and the Byrds tend to get the most credit for inspiring musicians to pick up an instrument and start emulating; from there, there's Big Star, the Bee Gees, and Badfinger.

These are pretty obvious (and valid) picks, all of them.

There are, however, some influences who've quite a bit of influence as well, even though they don't tend to get mentioned in the same breath on quite as regular a basis.

You've got your Queen, who produced quite a bit more than just "We Will Rock You", "We Are the Champions", and "Another One Bites the Dust". You've got your 10CC, who said "I'm Not in Love", then waxed lyrical on "The Things We Do for Love". And, of course, you can never forget ELO, mostly because Jeff Lynne won't let you.

But you've also got your Supertramp.

Album-oriented radio, as it's done to countless other artists, has diminished the impact of Supertramp over the years, though, leaving the casual listener with the impression that the band had a few good tracks, but, ultimately, not much else. Most folks who didn't come of age during the '70s probably couldn't even tell you the name of a single Supertramp album, though they might ask, "Does The Very Best of Supertramp count?"

But if actually you lived through the '70s, then not only would the phrase Breakfast in America erupt through your lips, but you could probably identify its album cover from half a block away.

A&M Records has taken to re-issuing the band's seminal work in re-mastered form, and, when you're talking about Supertramp, "seminal" begins with their third album.

I'm not sure how this piece of trivia got past me for lo these many years, but until researching the band's history for this review, I was unaware that Supertramp actually got its start courtesy of a young Dutch millionaire named Stanley August Miesegaes. Miesegaes, it seems, was friends with Rick Davies, and, though it sounds suspiciously like an apocryphal anecdote, the story goes that, in 1969, the poor little rich boy offered Davies the opportunity to form a band and put the cost on his tab.

After an ad in Melody Maker, Supertramp was born. And, then, after two not-very-successful albums (a self-titled debut, followed by Indelibly Stamped, neither of which warranted re-mastering in A&M's eyes), Miesegaes withdrew his financial support, leaving Supertramp without much in the way of money or fans. Ouch. That's gotta hurt.

But then 1974 rolled around, and the band released the aforementioned third album, Crime of the Century. And unlike its predecessors, Crime of the Century had far less in the way of prog-rock noodlings, instead showing the band evolving toward more of a pop sound. Indeed, this was the album that produced "Bloody Well Right" and "Dreamer"; it also contains the lesser-known album track "If Everyone Was Listening" a song which, though it didn't make the cut for the band's first best-of, scored inclusion on Volume 2.

Next up was Crisis? What Crisis? , which showed the band finding their way closer and closer to the middle ground between prog and pop, though it doesn't possess any song that screams "hit single". Certainly, the album possesses a stellar pair of openers in the form of "Easy Does It" and "Sister Moonshine". "Ain't Nobody But Me" may not be any great shakes, but "A Soapbox Opera" more than makes up for it. Meanwhile, Jellyfish missed an opportunity by not covering "Poor Boy". (In fact, when you come right down to it, when you look at their song arrangements after listening to these re-issues, it becomes clear that Jellyfish were probably just as inspired by Supertramp as they were by Queen, or anyone else for that matter.)

Even In The Quietest Moments followed much the same format as its predecessor, although it did remedy one error right up front, providing the band with an unforgettable hit single in the form of "Give A Little Bit" as the album's opener. The instrument that graces the album cover is no coincidence because the material is almost entirely piano-based. Although some of the songs are a bit long (the album only has seven songs, and four of them are over 7 minutes in length), each track is a pop symphony unto itself. "Fool's Overture", the album's closer, is positively epic in scale (10+ minutes), with a keyboard bit somewhere around the 3-minute mark that may or may not have been cribbed by the Buggles for their song "Living in the Plastic Age".

Still, as strong as Even in the Quietest Moments may have been, it was its follow-up that was the band's defining moment. Of course, it was also the watershed album in the band's career, because, y'know, how can you top Breakfast In America?

The answer, inevitably, is that you can't.

And Supertramp didn't.

When they finally got around to releasing the follow-up studio album, Famous Last Words, the best song they could muster as a single was "It's Raining Again". No, it's not a bad song, but when you compare it to Breakfast in America's "The Logical Song", "Goodbye Stranger", and "Take the Long Way Home", it's certainly not up to those standards.

Neither history nor the majority of Supertramp's fans would deny that Breakfast in America is the strongest album in the band's discography. From "Gone Hollywood" all the way through the grand finale, "Child of Vision", this is an unabashedly melodic record. Almost entirely free of pretense and limited in pomposity, it's just good old-fashioned pop music. It might not be a generation-defining album like Frampton Comes Alive, but very few individuals escaped the '70s without having the melodies from at least one or two of this album's tracks stuck in the back of their mind for the rest of their lives.

It's pretty easy to rank these four re-issues. Start with Breakfast in America and work your way back. And ignore anyone who says you only need a best-of collection. Once you've actually heard it, you'll find that, unlike the albums that came before and after it, Breakfast in America is absolutely indispensable.

Still, it's a shame about the name, don't you think? I mean, honestly: Supertramp? Even now, that's got to rank as one of the 10 worst band names ever.

From drunken masters to rumbles in the Bronx, Jackie Chan's career is chock full of goofs and kicks. These ten films capture what makes Chan so magnetic.

Jackie Chan got his first film role way back in 1976, when a rival producer hired him for his obvious action prowess. Now, nearly 40 years later, he is more than a household name. He's a brand, a signature star with an equally recognizable onscreen persona. For many, he was their introduction into the world of Hong Kong cinema. For others, he's the goofy guy speaking broken English to Chris Tucker in the Rush Hour films.

From his grasp of physical comedy to his fearlessness in the face of certain death (until recently, Chan performed all of his own stunts) he's a one of a kind talent whose taken his abilities in directions both reasonable (charity work, political reform) and ridiculous (have your heard about his singing career?).

Now, Chan is back, bringing the latest installment in the long running Police Story franchise to Western shores (subtitled Lockdown, it's been around since 2013), and with it, a reminder of his multifaceted abilities. He's not just an actor. He's also a stunt coordinator and choreographer, a writer, a director, and most importantly, a ceaseless supporter of his country's cinema. With nearly four decades under his (black) belt, it's time to consider Chan's creative cannon. Below you will find our choices for the ten best pictures Jackie Chan's career, everything from the crazy to the classic. While he stuck to formula most of the time, no one made redundancy seem like original spectacle better than he.

Let's start with an oldie but goodie:

10. Operation Condor (Armour of God 2)

Two years after the final pre-Crystal Skull installment of the Indiana Jones films arrived in theaters, Chan was jumping on the adventurer/explorer bandwagon with this wonderful piece of movie mimicry. At the time, it was one of the most expensive Hong Kong movies ever made ($115 million, which translates to about $15 million American). Taking the character of Asian Hawk and turning him into more of a comedic figure would be the way in which Chan expanded his global reach, realizing that humor could help bring people to his otherwise over the top and carefully choreographed fight films -- and it's obviously worked.

9. Wheels on Meals

They are like the Three Stooges of Hong Kong action comedies, a combination so successful that it's amazing they never caught on around the world. Chan, along with director/writer/fight coordinator/actor Sammo Hung and Yuen Biao, all met at the Peking Opera, where they studied martial arts and acrobatics. They then began making movies, including this hilarious romp involving a food truck, a mysterious woman, and lots of physical shtick. While some prefer their other collaborations (Project A, Lucky Stars), this is their most unabashedly silly and fun. Hung remains one of the most underrated directors in all of the genre.

8. Mr. Nice Guy
Sammo Hung is behind the lens again, this time dealing with Chan's genial chef and a missing mob tape. Basically, an investigative journalist films something she shouldn't, the footage gets mixed up with some of our heroes, and a collection of clever cat and mouse chases ensue. Perhaps one of the best sequences in all of Chan's career occurs in a mall, when a bunch of bad guys come calling to interrupt a cooking demonstration. Most fans have never seen the original film. When New Line picked it up for distribution, it made several editorial and creative cuts. A Japanese release contains the only unaltered version of the effort.

7. Who Am I?

Amnesia. An easy comedic concept, right? Well, leave it to our lead and collaborator Benny Chan (no relation) to take this idea and go crazy with it. The title refers to Chan's post-trauma illness, as well as the name given to him by natives who come across his confused persona. Soon, everyone is referring to our hero by the oddball moniker while major league action set pieces fly by. While Chan is clearly capable of dealing with the demands of physical comedy and slapstick, this is one of the rare occasions when the laughs come from character, not just chaos.

6. Rumble in the Bronx

For many, this was the movie that broke Chan into the US mainstream. Sure, before then, he was a favorite of film fans with access to a video store stocking his foreign titles, but this is the effort that got the attention of Joe and Jane Six Pack. Naturally, as they did with almost all his films, New Line reconfigured it for a domestic audience, and found itself with a huge hit on its hands. Chan purists prefer the original cut, including the cast voices sans dubbing. It was thanks to Rumble that Chan would go on to have a lengthy run in Tinseltown, including those annoying Rush Hour films.

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