Brother Where You Bound

Artist: Supertramp
Label: A&M
Category: Music

Average customer rating:

Media: Audio CD
Number Of Discs: 1

UPC: 075021501423
EAN: 0075021501423
ASIN: B000002GGW

Release Date: 1990-10-25

Brother Where You Bound

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Tracks:

Cannonball
Still In Love
No Inbetween
Better Days
Brother Where You Bound
Ever Open Door

Similar Items:

Some Things Never Change
Supertramp
Famous Last Words
Indelibly Stamped
Even in the Quietest Moments...

Customer Reviews:

SUPERTRAMP (-) minus Roger Hodgson (=) equals: The RICK DAVIES Band.......2006-05-02

After a 2 year hiatus from Hodgson's major turn of decision to leave the band that gave birth to his formidable career, co-founder Rick Davies decided to move on hooking up with Supertramp's remaining band members - taking total charge of the band's musical direction and songwriting chores - came up with this six-tracked LP, which initialized Davies' complete handling of Supertramp, characterized by his continual lyrical innuendo regarding Hodgson's flight from the group - guised in the maneuver of wooing back a woman's affection of sorts, which is first encountered in a more evident way on Supertramp's previous Lp, the final one with Hodgson entitled FAMOUS LAST WORDS, the song "Waiting So Long".

Quite peculiar - the album cover features Darwin's infamous diagram for the evolution of man, which extends to the inner sleeve picturing Supertramp's four remaining band members -- it seems to connote a certain kind of complimentary symbolical iconography of sorts for their then-driving force Roger Hodgson perhaps; that obviously, somewhat needless to say (and yet I'd state it anyhow as such) - SUPERTRAMP without Hodgson is indeed a major issue to serve as a gap for a missing link of sorts concerning the band to pull through in order to work out well.
It even kind of resembles The Beatles' 'official' final album, ABBEY ROAD which symbolically depicts the group to bury Paul McCartney out of the gimmick instigated by the late John Lennon - which turn out that Lennon had to eat up his word by telling McCartney not to play in the band in response to McCartney's words that they can't go on arguing all of the time if they are to continue on working as a unit (as heard on the supplementary for the LET IT BE album reissue "NAKED"), that it winded up as a significant representation of the Beatles' trasistion to disband -- whilst with this Supertramp album cover : it's the transistion of moving on without Hodgson.

Commenced with its 7 minute single feature track "Cannonball" (one of such as those that's most passable to ever come out from Davies) - it reflects a very sad constituent for the direction of the band, in particular to Davies' perspective prospectively regarding the band's direction without Hodgson; and yet Davies in his own right, was still able to pull through with a number of exceptionally good tracks for this Lp - such as the second track "Still In Love with you", and what follows "No Inbetween", and "Better Days".

The album coming out as the first to present what would turn out for the band's route under the direction of Davies' tutelage for Supertramp, it features guitar works from Marty Walsh - along with THIN LIZZY's Scott Gorham (who, by the way is an in-law to one of Supertramp's members who've then referred Gorham to the Phil Lynott group), in particular to the album's title track, wherein the album being guised as packaged with no gaps between the tracks similar to a concept album in the veins of Pink Floyd's DARK SIDE OF THE MOON (kinda like a revamp of sorts to Supertramp's CRIME OF THE CENTURY (that spawned the first Lp with the full classic line-up of Hodgson/Davies/Siebenberg/Thomson/Helliwell); which had that better spunk to beat the said over-rated Pink Floyd album anytime) - in this case, Davies also incorporated Floyd's guitarist David Gilmore, whilst Davies' songwriting apparently turned into something that appears very akin with Roger Waters of Pink Floyd's style of ode-like narratives in that respect for the majority of the tracks within this album, which is characteristically met further on with Supertramp's next releases from this point on.

The album however ends poignantly with a very hopeful yet sad ballad "Open Every Door", which is rivaled similar but in a more light-hearted way on the closer for the band's 1997 release SOME THINGS NEVER CHANGE (the album being quite link-able to christian stuff anyway -somewhat), the song "Where There's A Will", which is quaintly humourous to also slot in melodically a faint and subtly executed interlude of the traditional church hymn "Amazing Grace", which is a better developed album of sorts, comparatively for what fallowed this one - the album FREE AS A BIRD.

Fairly good CD.......2003-12-01

Some people hate this CD for its dark mood and some people think it is fantastic. I think if it fairly good, close to 4 stars. It isn't their best album but it has some good parts. And I don't think it is all that dark. Note that there is a "remastered" version of the CD. I have the original, and I don't think there is anything wrong with the sound.

The 3, 4 and 5 track of this album is like an extended, 30 minute version of Fool's Overture. It has the changing themes and the dialog by famous people (Ronald Reagan, George Bush and others). It is another one of those Supertramp tracks that take you into a different world and when it is over your head is spinning and you try to come back to reality.

The album starts out with the 8 minute, bouncy Cannonball. I can take or leave it. Tracks 2 and 6 are completely forgettable.

This is the first album after Roger Hodgson left the group. He put out a fairly good album at the same time called Eye of the Storm. It is hard to say which is better. In 1987, both Hodgson and Supertramp released horrible CD's of short tracks trying to capture the disco pop sound of the day. Both disappeared for over 10 years after that.

Cannonball has a hypnotic groove........2002-08-03

"Cannonball." You can't stop listening to it. It clocks in at over seven minutes. But it could take over the entire album and you wouldn't get bored.

It's as epic and hypnotic as Led Zeppelin's Kashmir, but for Prog-pop fans. Instead of a Jimmy Page guitar grind, you have a saxophone bridge and Davies' Hammond organ.

If you're one of those people who lights your cigarette lighter at a Phil Collins-Genesis concert, then you'll love this album.

Bound to be under estimated.......2002-07-22

First, let's get the most difficult part out of the way--Roger Hodgson sang and wrote or co-wrote the bulk of Supertramp's hits. True, this was very much a collaborative band and Rick Davies contributed just as much but not if you bought their albums for the hits. Roger has a distinctive songwriting style using a lot of major keys and upbeat lyrical statements. Rick, on the other hand, struck me as more the cynical one of the two. Sure, Roger was missed but Rick did a marvelous job of carrying on with this daring concept album.

More prog pop than prog rock, Supertramp managed to blur the lines between top 40 and progressive rock. Brother is an attempt to return to the prog rock roots to a certain extent. Brother reminds me more of Crime of the Century than the band's later efforts. There's a dark and cynical undercurrent to the lyrics and the music is as ambitious as ever.

The stunning opening track Cannonball sets the pace. It's lyrics hint at emotional betrayal and, although there has been speculation that it's about Roger's departure, it's strictly speculation. Either way, it's a stunning opener.

Better Days pokes and prods the political process and promises that are often betrayed by poiticians once they attain power. It's also a strong track.

The title track hasn't aged as well lyrically, but the music carries the day. Dave Gilmour's stunning guitar solos add heft to this ambitious, powerful song. Suddenly, for an instant, the band transforms into Pinktramp. It made me wish Gilmour had guested on more than this song.

The closing track Ever Open Door is one of the most heartfelt, hopeful tracks that Davies has ever written. It's fairly straight forward and simple in deliver which is just the tonic one needs after the brutal title track. It's one of the most emotionally powerful songs the band has ever recorded.

After the inconsistent Famous Last Words, Brother demonstrated the band could continue to make viable and powerful music. The playing is top drawer. What's surprising is that Roger Hodgson really isn't missed all that much.

Better than you would think........2002-06-02

We got about 44 min. of music here.Title track 16 min.is nothing short of brilliant. It is like Fools Overture,just more pace and a little more trippy.Cannonball is nice and bouncy(8min.)No Inbetween 5 min.is a beuatiful, mainly piano ballad
which is 30 mins.of exellent music here.Better Days is not bad

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