Hans Reichel – The Death Of The Rare Bird Ymir (1979)

FrontCover1Hans Reichel (10 May 1949 – 22 November 2011) was a German improvisational guitarist, experimental luthier, inventor, and type designer.

Reichel was born in Hagen, Germany. He began to teach himself violin at age seven, playing in the school orchestra until age fifteen.

Around the same time, he began to play guitar and became interested in The Beatles, The Rolling Stones, and later, Frank Zappa, Cream, and Jimi Hendrix.

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He left music in the late 1960s to pursue font design and typesetting. He returned to music in the early 1970s, when he recorded a tape of guitar music. This recording was sent to the jury of the German Jazz Festival in Frankfurt, where he was asked to appear in a special concert for newcomers. Discussions with Jost Gebers, the founder of Free Music Production, led to the release on his debut album, Wichlinghauser Blues (FMP, 1973).

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During the 1980s and 1990s, Reichel recorded solo albums and duets with Rüdiger Carl, Tom Cora, Eroc, Fred Frith, and Kazuhisa Uchihashi. He was featured in ‘Crossing Bridges’, a 1983 music programme based around jazz guitar improvisation, and broadcast by Channel 4 He was a member of the September Band with Paul Lovens, Rüdiger Carl, and Shelley Hirsch. He also worked with groups led by Thomas Borgmann and Butch Morris. The record labels Intakt, Rastascan, and Table of the Elements released some of Reichel’s albums, compensating for the limited distribution of FMP.

In 1997, he was named one of the “30 Most Radical Guitarists” by Guitar Player magazine. He died at the age of 62 in Wuppertal, Germany. (wikipedia)

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And here´s 5th solo album:

Even American rock stars revere him as the father of their skills. But in his native Germany, the Wuppertal guitarist Hans Reichel leads a shadowy existence. Yet he has expanded the sound spectrum of his instrument to infinity – simply by ingenious manipulations (string guide, frets, pick-up positions). Reichel is a sound designer in two senses: first he builds, then he plays. Now there are two old LPs from 1979 and 1981 to be rediscovered: surprisingly traditional (understood as an antithesis to “free”), more folk than avant-garde, yet excitingly modern. (Stereoplay)

Take an inventor/improvisor and give him a classical guitar and you get a very beautiful and interesting album. (by proclaimation)

This music is a smorgasbord of delights that will continue to elicit pleasant feelings on every listen. (Anonymous)

Rating: exquisite !!!


Hans Reichel (guitar)


The Youth Of The Rare Bird Ymir:
01. Good Days I 4.53
02. The Call I 2.37
03. The Flight 3.49
04. The Dream 2.34
05. Good Days II 3.35

The Death Of The Rare Bird Ymir
06. The Call II / The Death Of The Rare Bird Ymir 20.34

Music: Hans Reichel


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Chet Baker – At Onkel Pö’s Carnegie Hall Hamburg/Germany 1979 (2017)

FrontCover1Chesney Henry “Chet” Baker Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter and vocalist. He is known for major innovations in cool jazz that led him to be nicknamed the “Prince of Cool”.

Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals: Chet Baker Sings (1954) and It Could Happen to You (1958). Jazz historian Dave Gelly described the promise of Baker’s early career as “James Dean, Sinatra, and Bix, rolled into one”. His well-publicized drug habit also drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and 1980s.


Early on May 13, 1988, Baker was found dead on the street below his room in Hotel Prins Hendrik, Amsterdam, with serious wounds to his head, apparently having fallen from the second-story window. Heroin and cocaine were found in his room and in his body. No evidence of a struggle was found, and the death was ruled an accident. According to another account, he inadvertently locked himself out of his room and fell while attempting to cross from the balcony of the vacant room adjacent to his own. A plaque was placed outside the hotel in his memory.

Baker is buried at the Inglewood Park Cemetery in Inglewood, California, next to his father. (wkipedia)


Chet Baker was an icon of cool jazz. The trumpeter, who died much too early, whose clear,
lyrical tone was one of his trademarks, made a guest appearance with his quartet consisting of Phil Markowitz on piano, Jean Louis Rassinfosse on bass and Charlie Rice on drums in April 1979. in Hamburg’s Onkel Pö. Classics such as the songs LOVE FOR SALE or
THERE’LL NEVER BE ANOTHER YOU , where Baker’s outstanding scat vocals can be heard, form the concert programme. Chet Baker is here, as this recording clearly shows, at the peak of his creative powers. (press release)


Great concert by the almost 50-year-old with his much younger comrades-in-arms. Only five songs spread over four sides of the record allow for long improvisations by each musician – everyone has space and time to put their own stamp on the songs. Those who only like the slow melancholic Chet Baker may come up short here, because at some point every piece takes off and is played with a lot of pressure on the instruments.

The narrowness and intimacy of the concert hall comes across well, the bass creaks, Chet is practically standing in front of you, piano and drums form the rest of the stage. Sometimes (very rarely) there is a little bit of reverb on the trumpet, I don’t know what went wrong there, but that doesn’t detract from the overall great listening pleasure. (by Oliver Scheuch)

Recorded live at Onkel Pö’s Carnegie Hall, April 2nd, 1979 Hamburg, Germany.
Recorded by NDR Hamburg.


Chet Baker (trumpet, vocals)
Phil Markowitz (piano)
Jean Louis Rassinfosse (bass)
Charlie Rice (drums)

01. A Love For Sale (Porter) 17.44
02. You Can’t Go Home Again (Sebesky) 13,07
03. There’ll Never Be Another You (Gordon/Warren) 16.21
04. Black Eyes (Shorter) 27.29
05. Broken Wing (Beirach) 23.41



More from Chet Baker:


Neil Larsen – High Gear (1979)

FrontCover1Neil Larsen (born August 7, 1948) is an American jazz keyboardist, musical arranger and composer. He was born in Cleveland, Ohio and grew up in Sarasota, Florida before relocating to New York and then, in 1977, Los Angeles.

Larsen was born in Cleveland, Ohio and grew up in Sarasota, Florida. He learned piano, drawing inspiration from jazz artists John Coltrane, Miles Davis and the Modern Jazz Quartet, and from contemporary rock acts.

In 1969, he was drafted to serve in the Vietnam War. During his time in Vietnam, he worked as a band director, co-ordinating musical entertainment for US armed forces personnel. After his discharge, he moved to New York to work as a musician.

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While in New York in the early 1970s, Larsen wrote television jingles and played on sessions for various recording artists. He formed the band Full Moon with jazz guitarist Buzz Feiten, and their self-titled debut album was released in 1972. Larsen was briefly a member of the Soul Survivors. He contributed as keyboardist, writer and arranger on their 1974 self-titled album on the TSOP label. He began touring as a member of Gregg Allman’s band in 1975.

In 1977, Larsen relocated to Los Angeles, where he played on sessions by producers such as Tommy LiPuma, Russ Titelman and Herb Alpert. These projects led to Larsen signing with Alpert’s record company, A&M Records, for which he recorded on the Horizon label. Larsen’s debut studio album, Jungle Fever, was released in September 1978. Larsen toured the US in support of the release with a band that included Feiten.

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The title track from his second studio album, High Gear, was nominated for the 1980 Grammy Award for Best Rock Instrumental Performance. The album peaked at number 153 on the Billboard Top LPs & Tape chart in the US and included musical contributions from Feiten, Michael Brecker, Steve Gadd and Paulinho da Costa.

Larsen collaborated further with Feiten in the jazz–rock fusion group the Larsen-Feiten Band. A self-titled album The Larsen-Feiten Band was released in 1980 on Warner Bros. Records. He has also recorded and toured with guitarist Robben Ford, who contributed to Larsen’s 2007 album Orbit.

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His compositions have also been recorded by George Benson and Gregg Allman, among others. Larsen took part in Miles Davis’s Rubberband sessions in 1985–86, which were later released in 2019. His song “Carnival” was later adapted by Davis into the piece “Carnival Time”.

Larsen has worked as a session musician for many rock artists, including Rickie Lee Jones, George Harrison, Kenny Loggins and Don McLean. He was the pianist and musical arranger for the 20th Century Fox Television show Boston Legal, and musical director for jazz singer Al Jarreau.

From 2008, he toured and recorded as a member of Leonard Cohen’s band. Larsen performed on Cohen’s Old Ideas (2012) album and on the singer’s final world tour, in 2012–13. Cohen regularly introduced him on stage as “today’s foremost exponent of the Hammond B-3 organ”. (wikipedia)

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And here´s is his second solo album:

This is just great rock/ fusion album, I’ll be fumbling thru my vinyl albums and see this and I will always pull it and give a spin. You play the first side and flip and side two is equally incredible. It’s a throwback style but highly recommended! (Christopher Ohlsen)

However, the album would have deserved a better cover !


Michael Brecker (saxophone)
Steve Gadd (drums)
Buzzy Feiten (guitar)
Abraham Laboriel (bass)
Neil Larsen (keyboards)

Neil Larsen02Tracklist:
01. High Gear 5.03
02. Demonette 5.06
03. Futurama 5.15
04. This Time Tomorrow 4.43
05. Nile Crescent 6.15
06. Rio Este 3.58
07. Night Letter 3.49


More from Neil Larsen:

Ironhorse – Same (1979)

FrontCover1Ironhorse was a Canadian rock band from Vancouver, formed by Randy Bachman, the former The Guess Who and Bachman-Turner Overdrive guitarist and singer. The initial incarnation of the band also included Tom Sparks (vocals, guitars), John Pierce (bass) and Mike Baird (drums).

This line-up of Ironhorse released 1979’s Ironhorse album on the Scotti Brothers label, and had a minor U.S. hit single in April 1979 with “Sweet Lui-Louise”, which peaked at #36 on the Billboard Hot 100 chart. In Canada, the song peaked slightly higher at #26. The same track reached #60 in the UK Singles Chart.


Ironhorse then had an almost complete line-up change, retaining only Bachman. The second incarnation of Ironhorse consisted of Frank Ludwig (lead vocals, guitars); Bachman (guitars, vocals); Ron Foos (bass) and Chris Leighton (drums). This line-up issued 1980’s Everything is Grey, also on Scotti Brothers Records. One of its singles, “What’s Your Hurry Darlin’,” peaked at #84 in Canada. In the U.S., the song peaked at #89 in May 1980.[3]

Foos then left the group to rejoin Paul Revere and the Raiders. In 1980, Ironhorse disbanded, with the remaining members (Bachman/Leighton/Ludwig) forming Union with Bachman’s former Bachman-Turner Overdrive band-mate Fred Turner. Union put out one album On Strike on the CBS subsidiary Portrait Records, and had a minor hit with the track “Mainstreet U.S.A.”

As of May 2013, Randy Bachman has been able to secure the rights to the two Ironhorse albums.


And here´s their debut album:

A lovable, teddy bear’s picnic of unabashed pop sprinkled with synths and the kind of meaty-fingered riffs you’d expect from Bachman, Ironhorse is an album giddy with delight, from the hiccuping “Sweet Lui-Louise” through the sun-drenched “One and Only,” helium-headed “Watch Me Fly,” the atmospheric “You Gotta Let Go” and Tom Sparks’ “She’s Got It.” Only really getting heavy for the Clapton dedicated “Old Fashioned,” and “There Ain’t No Cure,” those looking for a traditional BTO boot-stomper might be disappointed, but Ironhorse is indeed a dark horse entry in the corpulent Canuck’s discography. (by bpnicast)

SinglesThe death of Bachman Turner Overdrive was a bitter pill to swallow. They were never within throwing distance of being great but they unearthed a rich vein of musical appreciation within me which still hasn’t been played out today. Almost in gratitude, I followed Randy Bachman through his biographic album Survivor which was far too personal and divorced from heavy rock to be anything other than indulgent. My hopes were higher for Ironhorse as within the close-knit environment of a band was how I was used to seeing him work and the preceding single, “Sweet Lui-Louise”, bolstered that belief. Unfortunately, whilst not as tame as Survivor, this is more akin to pleasant rock and roll rather than raucous rawk.

The only tracks remotely like Bachman Turner Overdrive are “There Ain’t No Cure” and “Old Fashioned”, dedicated to “Slowhand” Clapton but with a vocal performance reminiscent of Hendrix. The rest are a likeable mix of rock-cum-pop with all the big guns appearing on side one: “Sweet Lui-Louise”, “Jump Back In The Light”, “One And Only” and “You Gotta Let Go”. The three tracks penned by Tom Sparks are more blues orientated and fine in themselves but it’s a mistake for Bachman to step down from lead vocals.

Not a thoroughbred but certainly worth a bit of a flutter. (by Grampus)


Randy Bachman (guitar, vocals. guitar synthesizer)
Mike Baird (drums)
John Pierce (bass)
Tom Sparks (guitar, vocals)


01. One And Only (Bachman) 3.32
02. Sweet Lui-Louise (Bachman) 3.11
03. Jump Back In The Light (Bachman) 3.12
04. You Gotta Let Go (Bachman) 3.59
05. Tumbleweed (Bachman) 3.19
06. Stateline Blues (Sparks) 3.46
07. Watch Me Fly (Sparks) 3.41
08. Old Fashioned (Dedicated To Slowhand) (Bachman) 3-14
09. She’s Got It (Sparks) 3.11
10. There Ain’t No Cure (Bachman) 3.57




Brand X – Product (1979)

FrontCover1Brand X were a jazz fusion band formed in London in 1974. They were active until 1980, followed by a reformation between 1992 and 1999, and were active following a 2016 reunion until 2021. Members have included John Goodsall (guitar), Percy Jones (bass), Robin Lumley (keyboards), and Phil Collins (drums). Jones was the sole constant member throughout the band’s existence until October 2020 when he left the band. Founding member Goodsall died on 11 November 2021.

In 1974, rehearsals began for developing a five-piece instrumental jazz fusion group at Island Studios in London, which was set to include Percy Jones on bass and Phil Collins (of Genesis) on drums. They had secured a recording deal with Island Records and prepared tracks for a studio album which originally included vocals. However, the vocals were negatively received from Island management, leaving the group to write new material,[5] at the suggestion of Island A&R man Richard Williams.


With Collins tied up with other commitments, the band settled on a founding line-up of Jones, John Goodsall on guitar, Robin Lumley on keyboards and vocals, Pete Bonas on guitar, John Dillon on drums and percussion, and Phil Spinelli on percussion and lead vocals. Dillon had left by the end of 1974, and a newly available Collins took his place in 1975. The four recorded Unorthodox Behaviour in September and October 1975 at Trident Studios with Jack Lancaster on saxophone. They were named Brand X after Island Records staffer Danny Wilding wrote down “Brand X” to keep track of their activity on the studio calendar, and the name stuck. In preparation for their upcoming gigs, the four were joined by Geoff Seopardi on percussion by December 1975. Genesis manager Tony Smith became their manager.


Brand X played their first gigs with a series of low key warm-up shows in November and December 1975. These were followed by a full-scale tour across the UK from February 1976, mainly on the college circuit. They had little funds, resorting to renting a synthesiser and PA system, operated with a small road crew, and often played support for the headlining act. Moroccan Roll was released in April 1977 and peaked at No. 37 in the UK and No. 125 in the US. With Collins leaving the group for other commitments, Kenwood Dennard of Pat Martino’s group was recruited in New York City in time for their 32-date US tour in May and June 1977. Collins briefly returned later in 1977 for a series of dates, including a spot at the tenth Crystal Palace Garden Party in London and the Fête de l’Humanité in Paris on the same day on a specially chartered plane, the latter attended by an estimated 200,000 people.


Following the 1977 tour, the band would recruit keyboardist Peter Robinson and Chuck Burgi on drums to record the Masques album. Released in 1978, it was the first and only Brand X album during the period to not feature Phil Collins on drums. The band would once again embark on a tour to promote this album in 1978, with a couple different drummers in place of Chuck Burgi. The next year, 1979, signalled the end of Brand X’s recording sessions for over 10 years. It was in this time that they would record Product that same year, Do They Hurt? in 1980, and 1982’s Is There Anything About?.Following the completion of the recording sessions, the band embarked on a world tour, following which Collins departed for the final time. Clark returned to the drum stool, and the band toured the UK in April and May 1980 (co-headlining with Bruford).

With the passing of John Goodsall, Percy Jones and Robin Lumley confirmed on Facebook, on 14 November 2021, that the Brand X name is now officially retired. No further activity will be done under that name.


Product is the fourth studio album by British jazz fusion group Brand X, originally released in 1979. It features primary member Phil Collins back once again on drums following his absence on Masques. Drummer Mike Clark and bassist John Giblin also appear on this album. (wikipedia)


Brand X’s most eclectic album to date, Product is perhaps most notable for its attempts at a pop crossover in the Phil Collins-sung “Don’t Make Waves” and “Soho.” The range of styles presented here — hard and soft fusion, pop, progressive rock — results from the now-interchangeable nature of the Brand X lineup, which, in addition to the returning Collins and Robin Lumley, is expanded to include bassist John Giblin and drummer Mike Clarke (Chuck Burgi having left after Masques). While the pop songs have a tart, new wave sound to them that is oddly ingratiating, they’re likely to leave longtime fans scratching their heads. (Genesis fans may hear in “Soho” the musical inspiration for “Illegal Alien,” and in Percy Jones’ “Dance of the Illegal Aliens” its titular inspiration.) Despite the presence of the original quartet — Collins, Goodsall, Lumley, Jones — the four don’t appear together on Product, although Goodsall is present for all but one song (the lone pairing of fretless bassists Percy Jones and John Giblin on “Wal to Wal”).


Many of this album’s tracks have found a place in the band’s career retrospectives, including the airy fusion of “Dance of the Illegal Aliens” and the engaging “Algon.” While Mike Clarke’s impact on the music often goes unnoticed, John Giblin adds a new dimension to the band’s sound with two soft, evocative songs: “Rhesus Perplexus” (in which Goodsall’s acoustic guitar crosses into Pat Metheny territory) and “April.” The remaining tracks, “Not Good Enough — See Me!” and “…And So to F…,” are pleasant instrumentals with a more prominent role for the percussion; Collins thought enough of the latter to include a live version of it on a couple of 12″ singles from his subsequent solo career. By nearly doubling the band’s size, Product is able to indulge in an interesting game of musical chairs that occasionally overshadows the music itself. The band clearly has talent to spare, but can’t seem to agree where to strike. (by Dave Connolly)


Phil Collins (drums, percussion, vocals)
John Giblin (bass)
John Goodsall (guitar)
Robin Lumley (keyboards, sound effects)
Mike Clark (drums on 02., 08. + 10.)
Percy Jones (bass on 02., 07., 08., 10. + 11.)
Morris Pert (percussion on 02., 08. + 10..)
Peter Robinson (keyboards. sound effects on 02., 08., 10. + 11.)


01. Don’t Make Waves (Goodsall) 5.31
02. Dance Of The Illegal Aliens (Jones) 7.50
03. Soho (Goodsall/Collins) 3.44
04 …And So to F… (Collins) 6.29
05. Algon (Where an Ordinary Cup of Drinking Chocolate Costs £8,000,000,000) (Lumley)  6.11
06. Rhesus Perplexus (Giblin) 4.02
07. Wal To Wal (Jones/Giblin) 3.15
08. Not Good Enough – See Me! (Jones/Robinson) 7.31
09. April (Giblin) 2.07
10. Noddy Goes To Sweden (Single B-side) (Jones) 4.30
11. Pool Room Blues (Single B-side) (Collins/Goodsall/Lumley/Giblin/Robinson/Jones) 3.02



Chris de Burgh – Crusader (1979)

LPFrontCover1Christopher John Davison (born 15 October 1948), known professionally as Chris de Burgh, is a British-Irish singer-songwriter and instrumentalist. He started out as an art rock performer but subsequently started writing more pop-oriented material. He has had several top 40 hits in the UK and two in the US, but he is more popular in other countries, particularly Norway and Brazil. His 1986 love song “The Lady in Red” reached number one in several countries. De Burgh has sold over 45 million albums worldwide. (wikipedia)

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An art rocker who occasionally writes pop-oriented material, Chris de Burgh has never been as popular in his native Britain or the United States as he is in other areas of the world. He’s had several songs make the Top 40, including 1983’s “Don’t Pay the Ferryman” (number 34) and the number three ballad “The Lady in Red” (1986). In Britain, he’s had several Top 40 singles — “The Lady in Red” was a number one hit and “Missing You” peaked at number three — and he’s had a number of minor hits. Nevertheless, he has gained astounding popularity in other countries, particularly Norway and Brazil. (by Stephen Thomas Erlewine)

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Crusader is Chris de Burgh’s fourth album, released by A&M Records in 1979. The album was produced by Andrew Powell, who has worked with the Alan Parsons Project in many of their early albums. The musicians on the album also came from the Alan Parsons Project.


The title track to 1979’s Crusader is not only this album’s crowning glory, but also serves as one of de Burgh’s finest songs. Its narrative is based on the courageous efforts of Richard the Lion-Hearted and his spirited battle against Saladin, the king of the Saracens during the crusades that took part between the 11th and 13th centuries. Broken into four separate parts, its detailed story line and moving musical passages exemplify de Burgh’s talent as an intriguing anecdotist. His seriousness and passion build the song until the very end of the “Finale,” in which the moral of “Crusader” is revealed through his soft-spoken final words. Even though this track bears most of this album’s weight, the rest of the songs aren’t without their merit. de Burgh still musters up enough romance to make “It’s Such a Long Way Home” a likeable tune. The serenity and overall quaintness of “The Girl With April in Her Eyes” aptly display his gift of singing cobblestone courtyard love songs. These songs, along with “Quiet Moments,” insure that his talent for singing gallant, gentle pieces has not escaped him. Although these songs house their own distinct beauty, this album’s true value lies in “Crusader,” his most moving and compelling work. (by Mike DeGagne)


Ian Bairnson (guitar, background vocals)
Chris de Burgh (vocals, guitar)
Stuart Elliott (drums, percussion)
Mike Moran (keyboards, synthesizer)
David Paton (bass, background vocals on 03. + 08.)
David Cripps (french horn on 03.)
Skaila Kanga (harp on 04.)
Chris Laurence (bass on 04.)
Francis Monkman (harpsichord on 04.)
Andrew Powell (piano on 05., 09.11. + 12.)(5, 9, 11, 12)
Olive Simpson (background vocals on 08.)


01. Carry On 3.58
02. I Had The Love In My Eyes 3.29
03. Something Else Again 3.47
04. The Girl With April In Her Eyes 4.15
05. Just In Time 5.14
06. Carry On (Reprise) 0.33
07. The Devil’s Eye 4.34
08. It’s Such A Long Way Home 2.52
09. Old-Fashioned People 3.28
10. Quiet Moments 1.40
11. Crusader 8.49
11.1. The Fall Of Jerusalem
11.2.In The Court Of Saladin
11.3. The Battlefield
11.4. Finale
12. You And Me 1.14

All songs written by Chris de Burgh.



More from Chris de Burgh:

The official website:

Horslips – The Man Who Built America (1979)

FrontCover1Horslips are an Irish Celtic rock band that compose, arrange and perform songs frequently inspired by traditional Irish airs, jigs and reels. The group are regarded as ‘founding fathers of Celtic rock’ for their fusion of traditional Irish music with rock music and went on to inspire many local and international acts. They formed in 1970 and ‘retired’ in 1980 for an extended period. The name originated from a spoonerism on The Four Horsemen of the Apocalypse which became “The Four Poxmen of The Horslypse”.

Although Horslips had limited commercial success when the band was playing in the 70s, there was a revival of interest in their music in the late 1990s and they came to be regarded as one of the defining bands of the Celtic rock genre. There have since been small scale reunions including appearances on The Late Late Show and RTÉ’s Other Voices. The band reformed for two Irish shows in the Odyssey Arena in Belfast and the 3Arena in Dublin at the end of 2009, and have continued to play shows since then …


… In 1977 they toured Britain, Germany, Canada and the United States. The night they played the Albert Hall in London was described by one critic as the loudest gig there since Hendrix. The Man Who Built America, produced by Steve Katz of Blood, Sweat and Tears and Blues Project fame, concerned Irish emigration to the US and received considerable airplay but broad approval was missing. The heavier sound did bring some acceptance in America but they lost their folk base and their freshness. (wikipedia)


A concept album about an Irish emigrant who makes a success of himself in the US, this album is energetic and often engaging, with some excellent songs (“The Man Who Built America”) and some tepid stretches.


The Irish content is fairly subdued here, with the overall sound favoring rock songs built around moderately complicated hooks.(by Steven McDonald)

Indeed, not the best album … but still a pretty good one !


Eamon Carr (drums)
Barry Devlin (bass, vocals)
John Fean (guitar, vocals)
Jim Lockhart (keyboards, flute, vocals)
Charles O’Connor (violin, mandolin, concertina, vocals)

01. Lonelines 4.17
02. Tonight (You’re With Me) 3.21
03. I’ll Be Waiting 6.26
04. If It Takes All Night 3.34
05. «Green Star Liner» 3:24
Side toNr. Tittel Lengd
06. «The Man Who Built America» 3:36
07. «Homesick» 4:00
08. «Long Weekend» 3:46
09. «Letters from Home» 4:14
10. «Long Time Ago» 3:36

All songs written by:
Eamon Carr – Barry Devlin – John Fean – Jim Lockhart – Charles O’Connor



More from Horslips:

The official website:

Electric Sun – Earthquake (1979)

LPFrontCover1Uli Jon Roth (born Ulrich Roth; 18 December 1954) is a German guitarist who became famous for his work with Scorpions and is one of the earliest contributors to the neoclassical metal genre. He is also the founder of Sky Academy and designer of the Sky Guitar. He is the older brother of fellow guitarist and artist Zeno Roth (1956–2018).

Roth formed a band called Dawn Road in the early 1970s, When guitarist Michael Schenker left the Scorpions to join UFO in 1973, causing the two remaining Scorpions members Rudolf Schenker and Klaus Meine to merge with four members of Dawn Road, they decided to use the name Scorpions rather than the less-well-known Dawn Road.[1] Scorpions released four studio albums during his tenure as lead guitarist, main songwriter and occasional lead singer between 1974 and 1977.

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Roth formed his own band named Electric Sun—releasing three albums: Earthquake (1979) dedicated to the spirit of Jimi Hendrix, Fire Wind (1981), dedicated to Anwar Sadat and featured a song called “Enola Gay (Hiroshima Today?)” about the atomic bombing of Japan by a Boeing B-29 Superfortress bomber of that name, and his third and final Electric Sun album Beyond the Astral Skies (1985), dedicated both to Martin Luther King Jr. and to Roth’s fans. This final album featured ex-Jethro Tull drummer Clive Bunker, on drums and timpani.
Solo career

Roth entered a new phase of creative work after Electric Sun, composing four symphonies and two concertos, and sometimes performing with symphony orchestras throughout Europe. Roth used the name “Uli Jon Roth” for all subsequent album releases and concert appearances.

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The G3 European tour of 1998 featured Roth playing with Joe Satriani and Michael Schenker. The show at London Wembley Arena also featured a jam with Brian May.

Roth played at the outdoor rock festival at Castle Donington in 2001 (also featuring original Scorpions lead guitarist Michael Schenker on the bill). This was filmed and subsequently released on DVD.

Roth appeared in concert with the Scorpions onstage at the Wacken Open Air Festival in 2006 along with two other former members of the band. Billed as: “A Night To Remember ; A Journey Through Time” the Scorpions played four songs from the Roth Era, most of which they had not played live since Roth had left in 1978. This concert was also filmed and released on DVD.

Although this was meant to be a “one night only” special event, its success meant that the format was repeated on several tours afterwards.

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At the Rock am Ring festival in Germany on 2 June 2007 Roth joined The Smashing Pumpkins on-stage for their epic closing song “Gossamer.” He made another appearance with the Pumpkins upon their return to Germany on 26 February 2008.

Roth had begun working on a new full-length studio album in 2007 which was to be released the following year. The title of the album would be: “Under A Dark Sky” and was going to be the first official release in the long-awaited series of Symphonic Legends (a cycle of music written by Uli for his all-encompassing Sky of Avalon project.)

Roth debuted songs from “Under A Dark Sky” on 18 July 2008 in his headline set at the G-TARanaki Guitar Festival in New Zealand. This was his first concert in the country. Roth also took his “Sky Academy” tuition classes to Taranaki, Waitara, Inglewood and Ōpunake. Guests musicians included Vernon Reid and Gilby Clarke.

“Under A Dark Sky” was released in Japan on 20 August 2008 via Marquee records. The European and USA releases followed a month later on 20 September 2008 on the SPV record label.

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Uli Jon Roth released a 2-CD studio album entitled Scorpions Revisited, which was recorded in 2014 in Hannover in early 2015. Roth revisited his personal favourites from the early Scorpions period.

A tour called The Ultimate Guitar Experience with fellow guitarists Jennifer Batten and Andy Timmons followed. Uli soon thereafter embarked on another world tour: this time playing The Tokyo Tapes, songs from the Scorpions 1978 tour of Japan and ensuing live album.

A double CD and Blu-ray/DVD were released in December 2016 of a concert Uli and his band played in Japan in 2015 commemorating the anniversary of The Tokyo Tapes. Roth concluded a short North American tour in March 2017, highlighting songs from both Scorpions Revisited and Tokyo Tapes.

Roth participated a second time at the G3 European tour with Joe Satriani and John Petrucci in March 2017.

Roth contributed an afterword to the 2017 book Shredders!: The Oral History Of Speed Guitar (And More), by Greg Prato. (wikipedia)

Uli Jon Roth01

And here´s his debut album with Electric Sun:

After his none-too-pleasant exit from German hard rock icons the Scorpions, guitar wizard Uli Jon Roth launched the next phase of his career via 1979’s Earthquake album, which was released through his ostensible solo project, Electric Sun — a psychedelic power trio fashioned in the image of his idol Jimi Hendrix’s Experience. Unfortunately, Electric Sun’s hippie tendencies were already severely outdated by this time, and with Roth handling the singing despite his obvious technical limitations (even with the Scorpions, he frequently insisted on sharing lead vocals with true frontman Klaus Meine), the project was probably doomed to commercial failure from the start.


Indeed, no matter how categorically dazzling his guitar-playing skills, Roth’s incompetence as a singer transformed Earthquake into the sort of album that made his loyal fans want to pull their hair out in frustration. On the one hand, here was the glory of Roth’s guitar work, with its effortlessly fluid melodic lines, unexpected twists of the imagination, astounding improvisations, complete control of tone and texture, and not a single note wasted in the bargain; on the other, there was Uli’s nasal and unruly voice, rambling on about painfully archaic flower-child subjects, with no help from his heavy German accent. And perhaps even stranger, nestled in alongside epic workouts like “Burning Wheels Turning” and the neo-classical tour de force of a title track, other songs simply found Roth and company reinterpreting his brighter moments with the Scorpions — e.g., opener “Electric Sun,” which was a pretty straightforward reworking of “Polar Nights” with altered lyrics, while “Lilac” clearly aped the midsection of “Fly to the Rainbow.”


All this being said, it’s still impossible to recommend against Earthquake where pure guitar shredding nirvana is concerned; Uli Jon Roth’s vocals may produce a certain amount of discomfort, but his jaw-dropping six-string heroics will have loyalists convulsing with delight. (by Eduardo Rivadavia).

The somewhat turgid cover of the LP was painted by Monika Dannemann (*).


Clive Edwards (drums)
Ule Ritgen (bass)
Uli Jon Roth (guitars, vocals)



01. Electric Sun 5.21
02. Lilac – 2:47
03. Burning Wheels Turning – 6:39
04. Japanese Dream – 4:28
05. Sundown – 4:04
06. Winterdays – 1:25
07. Still So Many Lives Away – 4:38
08. Earthquake – 10:37
09. Aquila Suite I: Aquila – The Eagle And The Rainbow – 2:00
10. Aquila Suite III: Endymon – The Eternal Sleeper – 2:17
11. Aquila Suite IV: Ballerina – Dance With Infinity – 2:43

All songs written by Uli Jon Roth



The labels of the French edition:

(*) Monika Charlotte Dannemann (24 June 1945 – 5 April 1996[1]) was a German figure skater and painter. She was the last girlfriend of guitarist Jimi Hendrix, and later the wife of German guitarist Uli Jon Roth of the Scorpions.

In 1965, Dannemann participated in the German Figure Skating Championships representing the club Düsseldorfer EG.

Monika Dannemann01

Dannemann was first introduced to Jimi Hendrix on 12 January 1969, in Düsseldorf, after being invited to a Jimi Hendrix concert there. She spent that night with him and part of the next day too, when she accompanied him to his next concert in Cologne; after that, she returned to Düsseldorf. He spent the last night of the tour with model Uschi Obermaier, with whom he was filmed kissing and petting outside the Kempinski Hotel the next morning. He wrote to Dannemann on 25 March 1969, inviting her to visit him in New York City. Dannemann claims she next saw Hendrix when she travelled to London on 25 April 1969 in the hope of meeting him again, where she bumped into him at the Speakeasy Club. She says they spent some time together over the next nine days, but she only spent one night with him.

After his September 1970 European tour, Hendrix began a relationship with the Danish model Kirsten Nefer. (It was reported in the Danish press at the time that they were engaged.) After Nefer left London due to work, he again took up with Dannemann on 15 September and spent the next four nights at her flat at the Samarkand Hotel, Notting Hill Gate, where he died.

Monika Dannemann03

On the evening of 17 September Hendrix took at least one amphetamine pill (known as a “black bomber”) at a party, where he stayed for a short while. Later, at Dannemann’s flat, Hendrix took nine of her Vesparax sleeping tablets; Hendrix was officially declared to have died at St. Mary Abotts hospital at 12:45 PM. The cause of death was asphyxiation through aspiration of vomit due to a barbiturate overdose.[2]
Later years

After Hendrix’s death, Dannemann became romantically involved with German rock guitarist Uli Jon Roth of rock band Scorpions, with whom she collaborated on several songs (one with the Scorpions titled We’ll Burn the Sky), album cover designs (of Roth’s second band Electric Sun), and artwork. Roth also wrote the foreword to Dannemann’s book about her experience living and working with Hendrix, entitled The Inner World of Jimi Hendrix (1995).

Dannemann died of suicide by carbon monoxide poisoning at age 50 in Seaford, East Sussex. She had lost an ongoing court battle with another of Hendrix’s girlfriends, Kathy Etchingham, two days earlier. (wikipedia)

Monika Dannemann02

Richard Wahnfried – Time Actor (1979)

FrontCover1Klaus Schulze (born 4 August 1947) is a German electronic music pioneer, composer and musician.

He also used the alias Richard Wahnfried and was briefly a member of the Tangerine Dream and Krautrock bands Ash Ra Tempel and The Cosmic Jokers before launching a solo career consisting of more than 60 albums released across five decades.

Richard Wahnfried, then simply Wahnfried after 1993, is the long-time and only real alias for Klaus Schulze – originally a pseudonym, later an official side project name. Seven albums were released under this name between 1979 and 1997.

The main characteristics of the Wahnfried albums (as opposed to Schulze’s regular works) are:

Often being oriented towards more mainstream genres (some would say “more commercial”), such as rock, dance, techno, and trance.
Always allowing for collaborative and less electronic albums, with known or unknown guest musicians performing along Schulze’s synths.

Klaus Schulze01

The pseudonym’s etymology stems from Schulze’s love for Richard Wagner:

Richard, evidently from Wagner’s first name. Richard is also the name of Schulze’s first son.
Wahnfried (“Peace from delusion and/or madness”, in German), from the name Wagner gave to his villa in Bayreuth (and where he was later buried).

In his 1975 album Timewind (four years before the first alias use), Schulze had already named a track “Wahnfried 1883” (in reference to Wagner’s death and burial in his Wahnfried’s garden in 1883). The other track on Timewind is called “Bayreuth Return”. After 1993, the albums are simply credited to “Wahnfried”, and namedrop Schulze (“featuring Klaus Schulze”, “Produced by Klaus Schulze”).

“Wahnfried” is the only known alias of Schulze (albeit on the 1998 Tribute to Klaus Schulze album, among 10 other artists, Schulze contributed one track barely hidden behind the “Schulzendorfer Groove Orchester” pseudonym). (wikipedia)

“Time Actor” was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German synthesizer and ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. “Richard” is the name of Klaus’ son born in 1979, and the first name of the German composer Wagner. “Wahnfried” is the name of Richard Wagner’s house, from the German “wähnen Frieden fand” (that his search and hopes will find peace). The album was a unique fusion of Brown’s eccentric musical vision and Schulze’s mastery of synthesis. The album was originally released in 1979 on the German Innovative Communication label.

Arthur Brown & Vincent Crane

Time Actor stands out amongst Schulze’s massive catalog as a masterwork of avant garde new age. Schulze helms the project on electronics, and guests include Michael Shrieve on percussion, Vincent Crane on keyboards, and vocalist Arthur Brown, who sings – or should we say, speaks – on top of it all. Schulze describes the Wahnfried project in the liner notes as “the collective pseudonym of an idea: Time-Electronic, an experiment between avantgarde and muzak: Utility-music for sound-covered environment, in which a new generation grows up: Richard Wahnfried is this generation: Music between genius and nonsense: New ideas transported by an old medium to your ear.” (Press release)

Richard Wahnfried is not a person, it’s a pseudonym /project-name for certain endeavours by Klaus Schulze. This first LP under the moniker is basically a Schulze collaboration with art prog terrorist (and Crazy World leader) Arthur Brown. If there was an instrumental version of the album it would be an essential proto-IDM DJ weapon. As it stands, it’s still pretty great. (roundandroundrecords.com)

Klaus Schulze02

Klaus Schulze uses the alias Richard Wahnfried to record different music with notable guests. Time Actor is one of his best Wahnfried discs. The featured guests are Arthur Brown (as in ” … I am the god of hell fire and I bring you …”) on vocals, Michael Shrieve on percussion and Vincent Crane on keyboards. Of course, Schulze is on electronics. Brown’s vocals are the perfect compliment toSchulze’s manipulations and ministrations. His vocals — often spoken — with his heavy English accent is an extra instrument in the sound design. The music is pure Berlin school electronica. Nobody does that better than Schulze. Because of Brown’s unique contribution, this disc has no peer. (by Jim Brenholts)

This is a dehumanised, cold, aseptic technoid ambient album from Klaus Schulze (with Arthur Brown as singer). Each composition is almost the same, developping similar synth waves floating in a spacious environnement, insistent repetitive electronic pulses and Arthur Brown’s narratives, partly excentric vocals. It contains no variations, suffering of a lack of creativity and invention, very mechanical and definitely uni dimentional. The musical style is pretty similar to face B from Dune but less consistent and without emotion (despite an honest and glacial-seductive “charming the wing” with Arthur Brown’s great lyrical voice). This is a ryhtmical, electronic beat album, linear and without reliefs. The musical background is very minimal and doesn’t enable Arthur Brown to express his genius. Klaus Schulze should have been concentrated on dark, gothic, haunted organ chords (similar to Irrlicht and Cyborg), Arthur Brown would give the best on it. “Time Actor” is terribly conformist, empty and non human. To avoid! (philippe)

??  .. a real strange album … ??  … Make your own decision !


Arthur Brown (vocals)
Vincent Crane (keyboards)
Klaus Schulze (electronics)
Michael Shrieve (percussion)
Wolfgang Tiepold (cello)

Alternate frontcover:

01. Time Actor (Wahnfried/Brown) 8.59
02. Time Factory (Wahnfried/Brown) 10.40
03. Charming The Wind (Wahnfried/Brown) 4.50
04. Grandma’s Clockwork (Wahnfried) 4.10
05. Distorted Emission (Wahnfried/Brown) 5.30
06. The Silent Sound Of The Ground (Wahnfried/Brown) 15.02
07. Time Echoes (Wahnfried/Brown) 8.22
08. Agamemory (taken from the LP Megatone, 1984) (Wahnfried) 8.24



Supertramp – Breakfast In America (1979)

FrontCover1Supertramp were an English rock band that formed in London in 1969. Marked by the individual songwriting of founders Roger Hodgson (vocals, keyboards, and guitars) and Rick Davies (vocals and keyboards), they are distinguished for blending progressive rock and pop styles as well as for a sound that relied heavily on Wurlitzer electric piano.

The group’s line-up changed numerous times throughout their career, with Davies being the only consistent member throughout the decades.

Other longtime members included bassist Dougie Thomson, drummer Bob Siebenberg, and saxophonist John Helliwell.

Supertramp, 1971
From left: Roger Hodgson, Frank Farrell, Rick Davies, Kevin Currie, Dave Winthrop:

The band were initially a prog-rock group, but starting with their third album, Crime of the Century (1974), they began moving towards a more pop-oriented sound.[5] They reached their commercial peak with 1979’s Breakfast in America, which yielded the international top 10 singles “The Logical Song”, “Breakfast in America”, “Goodbye Stranger”, and “Take the Long Way Home”. Their other top 40 hits included “Dreamer” (1974), “Give a Little Bit”, (1977) and “It’s Raining Again” (1982). In 1983, Hodgson left the group to pursue a solo career. Davies took over as the band’s sole leader until 1988, after which they disbanded and periodically reformed in various configurations.


As of 2007, Supertramp album sales exceeded 60 million. They attained significant popularity in North America, Europe, South Africa, and Australia. Their highest sales levels were in Canada, where they had two diamond-certified (ten-times platinum) albums (Crime of the Century and Breakfast in America), and their only number 1 singles anywhere (“The Logical Song” and “Dreamer”). (wikipedia)


Breakfast in America is the sixth studio album by the English rock band Supertramp, released by A&M Records on 29 March 1979. It was recorded in 1978 at The Village Recorder in Los Angeles. It spawned four US Billboard hit singles: “The Logical Song” (No. 6), “Goodbye Stranger” (No. 15), “Take the Long Way Home” (No. 10) and “Breakfast in America” (No. 62).[A] In the UK, “The Logical Song” and the title track were both top 10 hits, the only two the group had in their native country.

At the 22nd Annual Grammy Awards in 1980, Breakfast in America won two awards for Best Album Package and Best Engineered Non-Classical Recording, as well as nominations for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. It holds an RIAA certification of quadruple platinum and became Supertramp’s biggest-selling album, with more than 4 million copies sold in the US and more than 3 million in France (the fourth ever best-selling album). It was No. 1 on Billboard Pop Albums Chart for six weeks, until 30 June 1979. The album also hit No. 1 in Norway, Austria, West Germany, the Netherlands, Spain, Canada, Australia and France.


As with Even in the Quietest Moments…, Rick Davies and Roger Hodgson wrote most of their songs separately but conceived the theme for the album jointly. Their original concept was for an album of songs about the relationship and conflicting ideals between Davies and Hodgson themselves, to be titled Hello Stranger. Hodgson explained: “We realized that a few of the songs really lent themselves to two people talking to each other and at each other. I could be putting down his way of thinking and he could be challenging my way of seeing life […] Our ways of life are so different, but I love him. That contrast is what makes the world go ’round and what makes Supertramp go ’round. His beliefs are a challenge to mine and my beliefs are a challenge to his.”

This idea was eventually scrapped in favour of an album of “fun” songs, and though Davies initially wanted to keep the title Hello Stranger, he was convinced by Hodgson to change it to Breakfast in America. Hodgson commented later: “We chose the title because it was a fun title. It suited the fun feeling of the album.” Due to the title and the explicit satirising of American culture in the cover and three of the songs (“Gone Hollywood”, “Breakfast in America” and “Child of Vision”), many listeners interpreted the album as a satire of the United States. Supertramp’s members have all insisted that the repeated references to US culture are purely coincidental and that no such thematic satire was intended. Hodgson has described the misconception as a parallel to how Crime of the Century (1974) is often misinterpreted as being a concept album.


“Gone Hollywood” is the opening track of Breakfast in America. Written by Rick Davies, the song tells about a person who moves to Los Angeles in hopes of becoming a movie star, but finds it far more difficult than he imagined. He struggles and becomes frustrated, until he ultimately gets his break and becomes “the talk of the Boulevard”. The lyrics were originally more bleak, but under pressure from the other band members, Davies rewrote them to be more optimistic and commercially appealing. Billboard writer David Farrell felt that, other than Davies’ lead vocal, the song sounds like a Queen song.

“Child of Vision” is the closing track. Much like “The Logical Song”, it uses a Wurlitzer electric piano as the main instrument. After the lyrical part, the song goes into a long solo played on the grand piano alongside the original melody on the Wurlitzer. The track fades out with a short saxophone solo by John Helliwell. Roger Hodgson has said that the song was written to be an equivalent to “Gone Hollywood”, looking at how Americans live, though he confessed that he had only a limited familiarity with US culture at the time of writing. He also said there is a slight possibility that he subconsciously had Rick Davies in mind while writing the lyrics.


Each song was credited to a single musician on the inner sleeve, but on the central vinyl label was printed “Words and Music by Roger Hodgson & Rick Davies”, combining the two and confusing the issue of composition credit. Roger Hodgson’s management has described “The Logical Song”, “Breakfast in America”, “Take the Long Way Home”, “Lord Is It Mine” and “Child of Vision” as ‘Roger’s songs’; however, this apparently does not mean he necessarily wrote them by himself, for Hodgson has credited Davies with writing the vocal harmony on “The Logical Song”. Davies has referred to “The five songs that I did on Breakfast”, but has not specified which ones.


The album went through two rounds of demos. The first were home demos, each of which consisted of the chief songwriter (either Rick Davies or Roger Hodgson) singing and playing either acoustic piano or Wurlitzer electric piano. The second were eight-track demos recorded at Southcombe Studios in Burbank, California during late April and early May 1978. It was in recording these demos that the band worked out the backing track arrangements for all the songs (with the exception of “Take the Long Way Home”) and determined the order in which they would appear on the album.

In order to avoid spending a lot of time on mixing, the band and their production team devoted a week to experimenting with different sound setups until they found the perfect arrangement. The effort proved to be wasted, as the engineering team would end up spending more than two extremely stressful months searching for the right mix, and were only finished after that length of time because the deadline had arrived, not because they felt at all satisfied with the results.


Tensions between Hodgson and Davies were reportedly almost non-existent on the album. Engineer Peter Henderson recalled: “They got along fantastically well and everyone was really happy. There was a very, very good vibe and I think everyone was really buoyed up by the recordings and A&M’s response to them.” Hodgson contested this, saying that he and Davies had increasingly different lifestyles, and that he felt that Davies disliked many of his songs and only kept quiet about his displeasure because he sensed that he would be voted down.[10] Melody Maker journalist Harry Doherty offered a third take on the duo’s interactions during the album sessions: “In three days with the band, I don’t think I saw Davies and Hodgson converse once, other than to exchange courteous greetings.”

The album’s front cover resembles an overlook of Manhattan through an aeroplane window. It was designed by Mike Doud and Mick Haggerty. The image depicts Kate Murtagh, dressed as a waitress named “Libby” from a diner, as a Statue of Liberty figure holding up a glass of orange juice on a small plate in one hand (in place of the torch on the Statue), and a foldable restaurant menu in the other hand, on which ‘Breakfast in America’ is written. The background features the southern tip of the New York City borough of Manhattan, with the Lower Manhattan skyline represented through a cornflake box, ashtray, cutlery (for the wharfs), pancake syrup bottles, egg crates, salt and pepper shakers, coffee mugs, ketchup and mustard bottles, etc., all spray-painted white. The twin World Trade Center towers appear as two stacks of boxes, and the plate of breakfast represents The Battery, the departure point for the Staten Island Ferry. The back cover photo, depicting the band members having breakfast while reading their respective hometown newspapers, was taken at a diner called Bert’s Mad House.

Breakfast in America won the 1980 Grammy Award for Best Recording Package, defeating albums by Talking Heads and Led Zeppelin, among others. (wikipedia)


With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide; by the 1990s, the album had sold over 18 million units across the world. Although their previous records had some popular success, they never even hinted at the massive sales of Breakfast in America. Then again, Supertramp’s earlier records weren’t as pop-oriented as Breakfast. The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits “The Logical Song,” “Take the Long Way Home,” and “Goodbye Stranger.” Supertramp still had a tendency to indulge themselves occasionally, but Breakfast in America had very few weak moments. It was clearly their high-water mark. (by Stephen Thomas Erlewine)


Rick Davies (vocals, keyboards, clavinet on 02., harmonica on 06.)
John Helliwell (saxophones, vocals, woodwinds)
Roger Hodgson (vocals, keyboards, guitar, vibraphon on 09.)
Bob Siebenberg (credited as Bob C. Benberg) (drums)
Dougie Thomson (bass)
Slyde Hyde (tuba, trombone)
Gary Mielke (Oberheim programming)


01. Gone Hollywood 5.19
02. The Logical Song Hodgson Hodgson 4.11
03. Goodbye Stranger 5.50
04. Breakfast In America 2.39
05. Oh Darling 3.48
06. Take The Long Way Home 5.09
07. Lord Is It Mine 4.10
08. Just Another Nervous Wreck 4.25
09. Casual Conversations 2.59
10. Child Of Vision 7.27

All songs written by Rick Davies and Roger Hodgson

A real great label design:


More from Supertramp:

The official website: