Supertramp
Breakfast in America

THE REVIEW

It can be defined without any hesitation as the most successful work of the Anglo-American group. To be honest, of Supertramp, I've listened to only this and a few other tracks picked from the endless electronic sailors' binges. A work entirely dedicated to the American experience, which has truly paid off significantly, with a large slice of meritocracy awarded to the excellent English group that manages to "invent" a truly commendable sound method. The peculiarity of their songs is characterized by an extremely clean, fluid, and predominantly catchy sound. A sound, I would dare say, magical, endowed with orchestration that is never sparse but automatically loaded with instruments. Sounds that never succumb to the enticing lure of the dirty riff, the heaviness of percussionist comments, the bloated shadow of sometimes too thumping bass. Excellent keyboard operators, choirs of wise fusion, and sweet electric guitars, Supertramp presents their bounty with these elements that manages to scratch with adequate delicacy even the imposing rocks of rock's glories. "Breakfast in America," currently remixed in a despicable manner and con-fused with an improbable rap, names the album that opens to the human audio with the absolution of a solo piano until the eruption of flexible electric guitars and the falsetto voice, another peculiarity, which gives breath to the lyrics. A falsetto undeniably as effective as that of the "Bee Gees," much less imposing than that of Robert Plant and decidedly more conceivable (allow me the jest) than that of the "Cugini di Campagna" (Lord have mercy!).

"The Logical Song" and "Goodbye Stranger", are two excellent pieces of true rock music with a clean and essential tone. The first is a masterpiece, characterized by the increasingly convincing lead voice that shapes most of the group's works. I believe that a smooth, soft sound, which often reaches peaks of exceptional stature like that of Supertramp, is difficult to imitate. We continue with the sincere "Oh Darling," the wonderful "Take The Long Way Home", another piece belonging to the high lineage of contemporary musical genealogy, the profound "Lord Is It Mine," and onwards, traversing an interesting piece and a pedantic one, for the rhyme, up to the monumental "Child Of Vision," a track, in my opinion, the masterpiece of the album. With dominating keyboards, they accompany the track up to the excellent final solo, preceded by interludes always enchantingly clean and by aurally dazzling choruses in the mighty refrain.

One regret is to be applied to the little fortune that Supertramp undeservedly obtained in the music scene of the time. And to think that "Dreamer" was transformed by Renato Zero into "Sgualdrina"...