Record of the day: Supertramp, “Breakfast in America”
Supertramp, “Breakfast in America” (Cd A&M 393708-2)
It seems that this album was one of the favorite rock records of the great composer György Ligeti, who had been referred to it by his students in Hamburg. It is not difficult to understand how a sophisticated musician like Ligeti was intrigued by this album, given that it is a work that manages to admirably combine songs with an immediate impact (the two singles “The Logical Song” and “Goodbye Stranger” are impossible to forget even after just one listen) with a refined taste for composition and arrangements, combined with lyrics with biting irony.
Supertramp were already famous in 1979, with excellent albums like “Crime of the Century” and “Crisis, What Crisis?” to their credit, but “Breakfast in America” was their consecration on a planetary level; at the same time the enormous pressure of this success and the fatigue caused by the tours around the world caused an increase in the tensions that had already been present for some time between the two leaders of the group, Rick Davies and Roger Hodgson, who, despite having signed the repertoire of the group had been working separately for years; this acrimony, however, is not particularly noticeable in “Breakfast In America”, which shows us a group in perfect musical harmony and in great form with very beautiful songs such as “Gone Hollywood”, “Take the Long Way Home” and “Just Another Nervous Wreck “. The only text that seems to predict Hodgson’s passing is that of “Casual Conversations”, which in hindsight appears to be a farewell letter from Davies to his companion in artistic adventures.
Many songs target the superficiality of the star system and the entertainment society monopolized by television (“Child Of Vision”) and document an existential malaise which corresponds to the search for greater spiritual depth (“Lord Is It Mine”, “The Logical Song”). The melodies are simple and effective and it is interesting how the dichotomy between the two leaders leads to a marked stylistic gap, which the group doesn’t even try to conceal; Hodgson’s songs are generally catchier and strongly influenced by the writing of the Beatles (particularly those of the “Abbey Road” period) while Davies’ pieces have an aftertaste more linked to the world of rhythm and blues and English pop of the early years ’70.
Carlo Boccadoro, composer and conductor, was born in Macerata in 1963. He lives and works in Milan. He collaborates with soloists and orchestras in different parts of the world. He is the author of numerous books on musical topics.
This text is taken from “Lunario della musica: A record for every day of the year” published by Einaudi, courtesy of the author and the publisher.
