Tag Archives: 1971 in Music

SUPERTRAMP, First 6 Albums of the English Prog-Rock Band, 1970-1979.

FEATURE image: “Supertramp – Crime of the Century” by vinylmeister is licensed under CC BY-NC 2.0. Crime of the Century was Supertramp’s third album released in September 1974. The album went Gold in the U.S., Diamond in Canada, and Platinum in France.

Roger Hodgson in 1979. Roger Hodgson in 1979. “File:Supertramp – Roger Hodgson (1979).png” by Ueli Frey is licensed under CC BY-SA 4.0
Rick Davies in 1979. Rick Davies in 1979. “File:Supertramp – Rick Davies (1979).png” by Ueli Frey is licensed under CC BY-SA 4.0

Supertramp’s debut album, Supertramp in 1970

Supertramp’s 1970 debut album wasn’t released in the U.S. until 1977. “Supertramp Self-titled aka Surely” by vinylmeister is licensed under CC BY-NC 2.0.

For an enterprising American traveler in the 1970’s, the acquisition of an album released only in Europe or the UK could add special purpose to an overseas trip. This proved true for me during various trips to England in the mid-to-late 1970’s. In addition to seeing plays, touring art museums, and visiting historic pubs, there was the hunt for releases and formats not yet available in the United States by the Rolling Stones, the Who, the Kinks, the Ramones, and many more. There were several such vinyl records I bought in London and elsewhere which I carefully packed into the carry-on bag for the flight home.

This was also true for the debut album of Supertramp. Though released in the UK in 1970, it did not appear in the U.S. until 1977 following the English progressive rock band’s ascent on the charts here.

Music for the album Supertramp was composed by Supertramp co-founders Rick Davies and Roger Hodgson. The lyrics were written by guitarist Richard Palmer-James. This was because no one else in the band wanted to write lyrics.

Indelibly Stamped, Supertramp’s second album in 1971

Album cover of Indelibly Stamped by Supertramp, the Prog-rock’s second release. The cover art copyright is believed to belong to A&M Records. Fair use.

The debut album received positive reviews. Supertramp’s musical innovations were moving ahead so quickly that the first album’s ten songs were dropped from their promotional live mega-tours almost as soon as they were recorded and released.

Indelibly Stamped, Supertramp’s second album in 1971, was a major change for the band to the rock sound. This was followed by the group’s multi-platinum albums, Crime of the Century in 1974 and Breakfast in America in 1979.

6th track from Indelibly Stamped.

Supertramp never returned to its first days’ output as musician-poets. Yet hit songs such as Dreamer in 1974 and Give A Little Bit in 1977 were written in this early period around 1970. Their high level of creativity adds to the debut album’s appeal. Supertramp’s other first songs also make for worthwhile listening.

Supertramp, 1971. Roger Hodgson, Frank Farrell, Rick Davies, Kevin Currie, Dave Winthrop. Supertramp 1971–This file is licensed under the Creative Commons Attribution 3.0 Unported license. 21stCenturyGreenstuff at English Wikipedia

Music critics react to Supertramp’s first songs – in 1970 and in 2020

Even after Supertramp was world famous, critics still had somewhat harsh words for Supertramp, their debut album.

Critics, both in 1970 and today, acknowledge that the 1970 album Supertramp offers almost 50 minutes of enjoyable melodies. They especially cite Surely, its lead track, and Words Unspoken, Nothing to Show and Try Again, a 12-minute track. Yet original and later critics continue to dismiss the album’s first songs overall.

Their main criticism is that Supertramp‘s musical and lyrical effort was too loosely conceived and, according to a review in AllMusic, wanders “pretentiously.” Critics generally agree that Supertramp’s progressive pop music on their 1970 debut album is melodious and poetic yet, lacking this compositional rigor, rambles.

Instrumentally meandering among pretty patches of subtle melody is not all bad. Appreciating the music from the viewpoint of a new group who seem to savor the pleasure of making music together for its own sake rather than attempting to make a powerfully cohesive statement, makes Supertramp’s first songs more enjoyable on its own terms.

Mellow and lyrical Aubade/I Am Not Like Other Birds of Prey is the third track on their 1970 debut album, Supertramp. It is one of the best/worst examples of what critics see as the musical airiness and pretension that characterize the songs on Supertramp, their debut album. This song and the rest of the first album, the band quickly put in its rearview mirror. In 1971 they progressed completely to a solid rock sound for album number two.

Rare film soundtrack in 1971

Along with Arc, Crucible, and other bands, Aubade/I Am Not Like Other Birds of Prey was featured as part of a rare soundtrack for a 1971 UK docufilm called Extremes. The film was directed by 19-year-old Tony Klinger and 21-year-old Mike Lytton and displayed the adventures and pursuits of young people of that era (it can be rediscovered in a 2017 DVD release).

Supertramp’s first two albums are commercial flops

Despite this creativity and critical success, the album Supertramp was a commercial flop. Its follow-up album Indelibly Stamped in 1971 and new rock sound was also a commercial flop.

Crisis? What Crisis?

Turning point for rock stardom: Crime of the Century in September 1974. Supertramp’s third album is no.1 in the UK

Following these commercial disasters—and before fame—Supertramp broke up. Co-founders Davies and Hodgson recruited new band-mates. Bassist Frank Farrell and drummer Kevin Currie were replaced with pub rockers John Helliwell on saxophone, Dougie Thompson on bass, and drummer Bob “C.” Benberg. The third album, Crime of The Century, preceded by a massive millionaire-bankrolled promotional campaign, soared to no.1 in the UK —and sowed seeds of a following in the U.S.

Crime of the Century was the third studio album by Supertramp and recorded between February and June 1974. Released on September 16, 1974, it was Supertramp’s first Gold record in the U.S.
The album, which soared to no.1 in the UK, produced Supertramp’s breakthrough Top 40 hit single in the U.S., Bloody Well Right written by Rick Davies and Roger Hodgson.
Band members believed that with this album Supertramp had entered into one of its most creatively original periods. “Supertramp – Crime of the Century” by vinylmeister is licensed under CC BY-NC 2.0.

Breakthrough U.S. single in 1975: Bloody Well Right

Supertramp’s breakthrough hit single in the U.S. was Bloody Well Right in 1975. Written by Supertramp co-founders Rick Davies and Roger Hodgson and sung by Davies (who performs its opening keyboard bars), the song appeared on the newly reconstituted English prog-rock band’s third album, Crime of the Century, released in mid-September 1974. The song features impressive guitar work by Hodgson and by saxman and new recruit John Helliwell.

Bloody Well Right appeared as the B-side of the single “Dreamer.” Listeners in the U.S. flipped the 45 r.p.m. and Bloody Well Right became Supertramp’s breakthrough hit in America. The song reached no. 35 on the Billboard Hot 100.

Bloody Well Right was not Supertramp’s odds-on, or even favored, hit song from the album. That would have been Hodgson’s Dreamer, written when he was 19 years old, on side A. But Dreamer charted only in Canada.

Crime of the Century went Gold in the U.S., Diamond in Canada and Platinum in France, and Bloody Well Right on side-B of Dreamer climbed to no. 35 on the U.S. charts in 1975. A Supertramp classic, Bloody Well Right remains a staple in the band’s live shows and over the airwaves and internet. During 1975, with singles from Crime of The Century charting, the bank-rolled group toured the U.S. and filled arenas by giving away most of the tickets.

Supertramp with Chris de Burgh – July 9, 1977 – Kitchener” by Ken Schafer is licensed under CC BY-NC-SA 2.0.

Supertramp’s fourth album, Crisis? What Crisis? flops.

Crisis? What Crisis? is the fourth album by the English progressive-rock band. “SUPERTRAMP : Crisis? What Crisis?” by vinylmeister is licensed under CC BY-NC 2.0.

Crisis? What Crisis? is the fourth album by the English progressive-rock band.
Recorded in the summer of 1975 in London and Los Angeles, it was released on November 29, 1975.

Hastily assembled from second-hand discards of Crime of the Century so to capitalize quickly on the third album’s success, Rolling Stone magazine panned the album and though the album contains some pleasant melodies, Supertramp was also underwhelmed by the project and came to see it as a low point of their career.

“Easy Does It” is the lead track from Supertramp’s 1975 album, “Crisis? What Crisis?” The song is written by the band’s co-founders Rick Davies and Roger Hodgson.

Major Comeback: Even in the Quietest Moments… is the fifth studio album released by Supertramp in April 1977.

Recorded between November 1976 and January 1977, it was released on April 10, 1977 and featured another song that Hodgson wrote at 19 years old.

Even in the Quietest Moments… repeated Crime of the Century‘s certification achievements and became their second Gold record in the U.S. During this period, Supertramp relocated permanently to Los Angeles. The single Give A Little Bit became a Top 20 hit in the U.S. and Canada and reached no. 29 in the UK.

Even in the Quietest Moments… was the fifth studio album by Supertramp. Even in the Quietest Moments album cover (backside)—“Backside Supertramp – Even In The Quietest Moments…” by Piano Piano! is licensed under CC BY 2.0
Give A Little Bit from Supertramp’s Even in The Quietest Moments…

Rock-star success for Supertramp is achieved in 1979 with their sixth album, Breakfast in America.

Album cover of Supertramp’s sixth album Breakfast in America. Breakfast in America album cover–“Vintage Vinyl LP Record Album – Breakfast In America Vinyl LP By Supertramp, Catalog Number SP-3708, Rock, A&M Records, 1979” by France1978 is licensed under CC BY-SA 2.0

Recorded from May to December 1978, Supertramp’s sixth album was released on March 29, 1979.

Breakfast in America became the no.1 LP around the world and went 4x Platinum in the U.S., selling over 4 million copies.

Supertramp’s Breakfast in America produced the Top 10 hit, The Logical Song. Written by Roger Hodgson, it became Supertramp’s biggest hit.

The Rolling Stone Encyclopedia of Rock & Roll, Third Edition, edited by Holly George Warren and Patricia Romanowski, New York: A Rolling Stone Press Book, 2001.



Back cover of Breakfast in America. “SUPERTRAMP BREAKFAST IN AMERICA w/LYRICS” by vinylmeister is licensed under CC BY-NC 2.0.

MARVIN GAYE (1939-1984): “Inner City Blues” is a number one single from What’s Going On (1971), one of music’s first concept albums with a social and political conscience.

FEATURE image: Marvin Gaye in 1970. This work is in the public domain in the United States because it was published in the U.S. between 1927 and 1977, inclusive, without a  copyright notice. see – https://en.wikipedia.org/wiki/Marvin_Gaye#/media/File:Marvin_Gaye_(1973_publicity_photo).jpg and https://www.nytimes.com/2015/10/02/fashion/mens-style/paul-newman-steve-mcqueen-cary-grant-style.html.

Inner City Blues (Make Me Wanna Holler)—often abbreviated to Inner City Blues—is a song by Marvin Gaye (1939-1984) who released it as the third and final single from his 1971 album, What’s Going On. PHOTO CREDIT: MARVIN GAYE WHAT’S GOING ON – FR
by richbedforduk.


What’s Going On is one of rhythm and blues and soul’s first “concept” albums and is considered by many to be not just one of the great albums of all time but the greatest.

What’s Going On produced three hit singles. All top ten chart bestsellers addressed diverse issues affecting a complicated time—including the war in Vietnam (What’s Going On, #2, 1971), the global biophysical environment (Mercy Mercy Me (The Ecology), #4, 1971) and civil rights and justice (Inner City Blues (Makes Me Want to Holler), #9, 1971).


The 32-year-old Gaye, who had his first hit song in 1962, had entered into a new and distinct stage of his musical career by the early 1970’s. Like Stevie Wonder, Gaye was one of the Motown artists to first gain complete control over his records.


Gaye’s Inner City Blues revealed the conditions of America’s black ghettos and America’s attitude and (lack of) response to them — Make me wanna holler. To those in society wielding predominant power, Gaye unflinchingly depicts the conditions of America’s inner-city ghettos and the attitudes of the men, women and children who live there.

A NATION RULED BY “HAVES” OVER “HAVE NOTS” — GAYE WRITES: This ain’t livin’, this ain’t livin’, No, no baby, this ain’t livin’.

Relentlessly bleak economic conditions of these cities’ slums—”Crime is increasing, trigger happy policing, panic is spreading, God knows where we’re heading”— perpetrate denizens’ lives. In a prosperous period in U.S. history such is offset by endless war, spiraling inflation, and an economy geared for permanently and grossly augmenting “haves” and “have nots.”

In Marvin Gaye’s mellifluous tenor voice which had a tremendous three-octave range, the singer relates soulfully and passionately—the multi-track background vocals were also sung by Gaye—his conclusion about “The way they do my life” which makes him “wanna holler and throw up my hands.” The writers’ conclusion about inner-city ghetto conditions in the United States, a rich country that ceaselessly spends its money on “rockets, moon shots,” is that insofar as the ghetto resident: “This ain’t livin’, this ain’t livin’, No, no baby, this ain’t livin’.


PHOTO: Películas Marvin Gaye y Al Green
by Soul Portrait.

Gaye had his first hit at 23 years old and died one day before his 45th birthday after he was shot to death by his father following a violent verbal altercation in 1984. In a career that exemplified the maturation of romantic black pop of the 1960’s, 1970’s, and 1980’s Gaye’s music developed into a popular artistic form that openly explored contemporary society and all manner of politics, including sexual.

In Inner City Blues the talented singer relates his harrowing subject matter and that which it implies by way of a sophisticated and mellow funk style. Detroit-based session musicians, particularly Eddie “Bongo” Brown and Bob Babbitt on bass, who were part of The Funk Brothers that performed on most Motown recordings of the period—added to the record’s sound.

Inner City Blues (Make Me Wanna Holler)
Music and lyrics by Marvin Gaye and James Nyx

Rockets, moon shots
Spend it on the have nots
Money, we make it
‘Fore we see it you take it

Oh, make you wanna holler
The way they do my life
Make me wanna holler
The way they do my life

This ain’t livin’, this ain’t livin’
No, no baby, this ain’t livin’
No, no, no
Inflation no chance

To increase finance
Bills pile up sky high
Send that boy off to die
Oh, Make me wanna holler

The way they do my life
Make me wanna holler
The way they do my life
Hang ups, let downs
Bad breaks, set backs

Natural fact is
I can’t pay my taxes
Oh, make me wanna holler
And throw up both my hands

Gaye in the 1970’s and 1980’s. PHOTO CREDIT: Marvin Gaye – Symphony (70´s / 1985)
by Soul Portrait.

Yeah, it makes me wanna holler
And throw up both my hands
Crime is increasing
Trigger happy policing

Panic is spreading
God knows where we’re heading
Oh, make me wanna holler
They don’t understand

Mother, mother
Everybody thinks we’re wrong
Who are they to judge us
Simply cause we wear our hair long


Marvin Gaye by Soul Portrait – “Películas Marvin Gaye y Al Green” by Soul Portrait is licensed under CC BY-NC-SA 2.0

MARVIN GAYE WHAT’S GOING ON – FR by richbedforduk is marked with a CC BY-NC-ND 2.0 license.

“Marvin Gaye – Symphony (70´s / 1985)” by Soul Portrait is licensed under CC BY-NC-SA 2.0