Times Have Changed - Supertramp - Indelibly Stamped (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac
Sponsored listings. Got one to sell? You may also like. Make an offer. Make offer - 12 " Vinyl - Supertramp - Crime of the century Canada. Shop by category. Record Size see all. Not specified. Genre see all. Duration see all.
Box Set. Double LP. Speed see all. Release Year see all. Artist see all. Supertramp Filter Applied. Record Label see all.
Record Grading see all. Edition see all. Sleeve Grading see all. Condition see all. Please provide a valid price range. Buying format see all. All listings.
Best Offer. Buy it now. Classified Ads. Item location see all. The progressive leanings of their debut album have been deliberately cast aside in favour of shorter, simpler tracks the seven-minute 'Aries' is padded out with a rather tame jambut none are anything more than mediocre.
It all adds up to an album crafted to penetrate the soft underbelly of the American market. I am pleased to report that it failed miserably, forcing the duo to re-form the band and come up with something different. While this is competent and inoffensive, there's nothing here that invites the listener back for a second listen. Or a first, for that matter.
Just it is quite far from usual sophisticated Supertramp sound. No-one can name this music art-rock! Arrangements are more straight rock instead of sound multi layers we're usually waiting from band's music. But there are interesting heavy guitar, some sax solos, some keyboards-driven jazz-rock pieces and very acoustic sound.
So, even if not very usual Supertramp album, still not so bad, as sometimes is spoken about it. Just be ready to hear a bit different side of Supertramp. But without the sparkling production that graced the later albums, these songs didn't have a chance. I'd say this album rates slightly higher than "Famous Last Words", only because by that album they should have known better.
Album opener Your Poppa Don't Mind adds nothing to a very basic bar band hard rock format beyond a bit of piano work from from Rick, Rosie is a dull LP at something resembling folk-rock, Forever sounds like a sappy attempt to mimic the late Beatles sound that falls far, far short of the standards of said band, and so on. I suppose Travelled is a pleasant enough prog piece with some nice flute from Dave Winthrop, but it's not exactly memorable or interesting or even, by this point in time, especially novel.
Likewise, Aries is alright before it descends into a completely aimless Santana-tinged jam that goes nowhere, giving rise to a mental image of the band noodling away with one eye on the clock, trying to squeeze out enough noise to fill the remainder of the album, as Dave Stewart confesses happened when Arzachel recorded their sole self-titled album.
The problem of course, is that Stewart, Campbell, Brooks and Hillage did the whole "aimless jamming" thing much better This is an album which plays like a demo tape, the new lineup trying out a range of different "outfits" only to find that none of them fit.
After having finished a now forgotten film soundtrack and their musically independent and critically acclaimed debut album, the first line-up of Supertramp disbanded. The only further relic composed in those days was the mediocre song Gold Rush which ended up on the Slow Motion record. With a new drummer, an additional wind player, a new bass guitarist and Roger Hodgson switching from bass guitar to regular guitar the band conceived their second album in In this line-up also composed and debuted some of the classic songs of Crime of the Century and Crisis?
What Crisis? This explains why some of the material on Indelibly Stamped sounds that much like the later Supertramp songs. However little many critics enjoy this album, especially those from the prog realms: this album shows the roots of what was to come later.
And you don't only get the roots - at some places the stuff really starts to bloom and shine. Many rock'n'roll or boogie pieces are pretty meaningless and stay safely on the well-known Carol pattern - or whichever piece you may associate with these genre. But the chorus of this song is simply awesome: harmonically it's pretty basic, but the rhythm is effortlessly tricky and the melody - including Rick Davies' slightly bored delivery - totally catchy. A tinkling Wurlitzer solo to swinging walking bass lines is the icing on the cake - and the chorus even provides enough substance for a short electric guitar lead-out after the solo.
I totally like this song! The introspective ballad Travelledwritten by Rodger Hodgson, is a completely different affair and gives you a clue how the black-and-white album cover with the tattooed and tough nude lady misled many potential album buyers.
The song begins quietly with gentle but restless acoustic guitar picking and a huge and deep two-part flute arrangement. Roder Hodgson takes over with his lamenting vocals and leads the song into an - as you might put it - aggressively happy part with biting vocals and an endlessly cumulating coda of multi-tracked vocals and an improvising saxophone.
I don't know and don't care if this is an expression of euphoria or of anger - it's emotionally resonant without doubt. The repetitive coda, however, might have been a bit shorter and the acoustic beginning a bit longer. Rosie Had Everything Plannedon its surface, is a romantic pop waltz somewhere between a French chanson and a folk song.
The lyrics, sophisticatedly looking into the life of a woman who murdered her putatively deceitful husband, are a completely different take on a love song it is a love song, after all! Frank Farrell is on accordion, Rick Davies contributes a classicistic and sparkling piano backing and Roger Hodgson gives a heartfelt vocal performance which I appreciate a lot.
Remember itself is a brute piece of blues rock with ferocious lead vocals by Rick Davies, a mighty saxophone riff by Dave Winthrop think Bloody Well Right and lots of solos on the harmonica, the saxophone and the piano.
Again I don't miss the delicacy which Supertramp implanted into their heavier songs in the mids, simply because the melodies are that great. Listen to the so every way you go, you go alone part with the dual lead vocals by Hodgson and Davies. Still I'm a bit ambivalent about the purpose of the overdubbed crowd noises which, as I read somewhere, were taken from some ish Beatles live concerts.
It's a funny idea to emulate a rough live atmosphere, but this sounds a tad too artifical in my opinion. Rick Davies once complained that the shows which accompanied Indelibly Stamped were genuine rock'n'roll concerts in small venues which mostly ended in a complete mess. Although I really believe that the live shows around that time weren't their best ones, I'm astonished what a unique and recklessly savage album this group accomplished.
Usually I don't like retro albums like these, including jazz ballads and boogie woogie and all that kind of stuff, but Indelibly Stamped is of a piece and amazingly consistent in its inconsistency. Great saxophone work, a lengthy and ever-growing chorus and a superb rhythm section. Nothing more to say about it, actually. The first part, performed entirely by Davies on keyboards predominantly a tacky but chiming piano and vocals, is an incredibly atmospheric piece of music - thoughtful and intense despite the sarcastic and tongue-in-cheeck lyrics which are what a lover tells his girlfriend about her and her family.
The second part which starts after the lover announces his upcoming visit is, after some busy verses, an unexpectedly rapid duel between Davies' Hammond organ and a harmonica on top of a quick groove of drums, percussion and bass guitar.
Times Have Changed is reminiscent of both The Band and A Salty Dog -era Procol Harum due to the maritime lyrics, but in fact it's the second piece which - with a smoother production - wouldn't be out of place on any of the following albums.
Don't get me wrong, the production is totally brilliant, but especially Kevin Currie's drums have a rootsy Levon Helm punch which Bob Siebenberg later replaced with a more elaborate styling. Times Have Changedhowever, is a stirring mid-tempo ballad with a plaintive chorus sung by Davies backed by a clean bluesy electric guitar and a low-key saxophone drone.
The bar bridge again makes good use of the dual Hodgson-Davies lead vocals and makes up the dramatic peak of the piece. A spine-tingling song and perhaps my favorite one off the album.
The heavy blues pop number Potter and the ragtime-like Friend in Need are two brief pieces I could also live without, although they really do not hurt in the context of such an eclectic album. Friend in Need even features a tuneful and LP decent instrumental part which actually takes most of the two minutes and benefits from competent saxophone playing and the swinging honky-tonk piano; the few verses, however, aren't really convincing and only work as a jaunty gap between the more serious compositions.
Potter riffs along aimlessly - except for the pretty enjoyable up-beat part which should be the chorus, but Dave Winthrop is by far more convincing as a flautist than as a singer. When before having bought this album I read that Aries was an extended jam for acoustic guitar, flute and bongos I expected one of those typical lates hippie work-outs which drift through time without direction.
It could well have been one of those pieces, but the band doesn't indulge in pseudo-spiritual rambling but really cook and drive the matter on. The percussion rattles and knocks all the way through, Roger Hodgson's LP and haunted vocals are meaningful and honest while the interplay of electric piano and flute is stellar. After some minutes things become a little bit more free-form, but they never lose track at all. This line-up played really tight, had a perfect timing and featured two great improvisers.
It's hard to understand why no-one actually noticed this album in - it even comprised possible hit singles! Frank Farrell is also credited with playing the acoustic and electric piano somewhere on the album. This could be a piece in which his keyboard duties could be found at some place. When you get this album don't hope for the operatic and sound-effect-laden sound of Crime of the Century.
Some reviewers argue that songs like Aries or Travelled sound like progressive rock, but I don't think that's true. In spite of some fillers and odd moments Indelibly Stamped shall be highly recommended for open-minded prog listeners who also enjoy more 'immediate' music. So, I expected to hear something similar to the debut album, which concentrates on acoustic and Album) guitars more than keyboards like the more familiar Supertramp would. The first track "Your Poppa Don't Mind" was the 3rd surprise I wasn't expecting to hear something so similar to the Supertramp sound that everyone was so familiar with.
There was that familiar piano-laden sound with the catchy rhythms and happy songs that I loved so much. Now, after all these years, it is obvious that this was one of Supertramp's first album, because it isn't as polished and seems slightly rushed in some parts. Apparently, the band was in trouble because their debut album flopped and this was a last ditch effort to put something together.
Hence, the feeling that the band was attempting to find their sound. This album, however, is a step in the right direction and is the bridge between the completely different sounds of the debut album and the amazing "Crime of the Century".
After listening to this album, the transition makes a lot more sense. At least, it does when it comes to Rick Davies, LP. As I said earlier, the first track is surprisingly close to the perfected trademark sound that Supertramp would acquire. This one is more similar to the debut album with more emphasis on guitars, but there is some added brass towards the end of the song. It is more upbeat than most of the songs on the debut though, which is overall more darker.
Roger sings on the next track also "Rosie Had Everything Planned". This will be the last song you will hear Roger on until the last track.
Rick sings the next 2 tracks. There are audience sounds here, but they were added to a studio track. He follows with "Forever" which is a mid tempo song with a strong beat, somewhat similar to "Oh Darling" from Breakfast in America believe it or not.
The next track sounds the least like anything by Supertramp and is sung by David Winthrop. It is a more blues-rock sounding and a heavier song. David's vocals are a little similar to Roger's in these earlier years, but that is hard to discern because you won't hear from him again on Supertramp's albums.
Not a bad song, but completely out of character for the band. Rick returns again with 3 songs in a row, each one different in it's own right, but very foreshadowing of their future sound.
Roger finally returns to lead vocal duties for "Aries" which is over 7 minutes long, but is mostly consisting of a long instrumental section that again like the other Roger songs here stay away from the future Supertramp sound, concentrating on acoustic guitars, flutes and marimbas, sort of like a folky sounding Santana.
Not bad, but not the sound we would become familiar with. So it seems that Rick Davies found the trademark and famous sound before Roger did. That sound that Rick taps into here would become the sound that would make them superstars.
Even though Roger was the more commercial sounding of the two, it was Rick that hit on the sound first. It is also interesting to note that Rick only sung on one track on the debut album The Shadow Song and it sounds nothing like what he does on this album. Roger sings most of the songs on the debut, but only 3 songs on "Indelibly Stamped".
Any of the Davies songs could have been easily redone to fit on any of Supertramp's later albums, but any of the Hodgson songs would have taken a complete reworking to be included successfully.
All in all, this is not a bad album if you consider when it was made early in their career and the stress they were under to throw something good together quickly. Again, you have to realize that the best songs here are from Davies, but fortunately, he leads on most of the tracks here.
Son Of Sam - Adrian Shaw - Tea For The Hydra (CD, Album), Soup - Girlpool (2) - Powerplant (Vinyl, LP, Album), You - Kurt Darren - Smiling Back At Me (CD, Album), Если Ты Любим, Clean-Cut - Various - Groove 152 CD 61 (CD), يا طيار خدني معاك = Ya Tayar Khodni Maak - محمد زين = Mohamed Zein* - يا طيار خدني معاك = Ya Tayar, The Cherry Pickers - ...Keep Going Well (Vinyl, LP), Όλα Θέλω Να Τα Ζήσω, Samba De Janeiro (Tribal Storm Mix) - Various - Promo Only Rhythm Club: November 97 (CD), Perfect Shadow - Tarwater - Dwellers On The Threshold (CD, Album), Henry Ford Blues - Roosevelt Sykes - One Of Em Ivory Ticklers (Vinyl, LP), Things I Will Keep - Guided By Voices - Do The Collapse (CD, Album), Body And Soul - The Dave Brubeck Trio - Distinctive Rhythm Instrumentals (Vinyl, LP), The Nile Song - Blue Stories - What You Deserve (CD), Ruby Turner - Its Gonna Be Alright (The Blacksmith Remixes) (Vinyl)
Published in Classical