Big rock group, Supertramp with Rick Davies as the leader of the band from the start...Lots of these tunes will switch on your audio memory banks as they got lots of radio play back in 1979 with this good selling album...My copy has a strong warp on the outside tracks and basically first cuts on both sides are skipping all over the place BUT the remainder of the LP is almost MINT sounding...The CLASSIC cover by Mike Doud is excellent as it shows the skyline of The Big Apple with food items (salt and pepper shakers, egg cartons,coffee mugs, and more)...Yummy...
Can't find my version anywhere its a chromdioxid cassette printed in Holland. CKM 64747. Black cassette with a clear center, metal screws and a white paper label. No barcode. Other codes LC 0485, CB 471 AND 57.
Most excellent album probably their best ever. The lyrics and melodies are truly memorable from from the fade-in with "Gone Hollywood" to the fade-out in " Child of Vision" you can listen to the whole album or CD and never lose interest. Of all the releases the A&M Canada half-speed mastered pressed on JVC Super Vinyl was probably the best sounding and best value. The first issue CD release had that kind of "harsh" sound that gave fuel to early digital music format critics, compared to the vinyl (I have both) Most likely they would have re-equalized the later remastered edition and the SACD release.
I second any positive review of this album and this pressing. I know of Supertramp like many people do, from my parents, my Dad in particular. I buy this every time I find it, which is quite a bit for some reason. Every song is great and this pressing is among top 3 best in sound quality out my modest 200 LP collection, in fact THE best from this era.
There were several albums in my lifetime that were delivered to all white American households, like a free box of Tide. Though for some reason, I was never home to accept this package, or perhaps Breakfast In America was left on my doorstep and someone appropriated it … either way, I’ve never been able to justify this bit of art-rock that one day wasn’t there, and the next it seemed to be drifting from every open window I passed, was one of the hot-wall favorites in records stores, and impossible to escape on the radio, meaning that whether you owned the physical copy or not, the lyrics of this opus would be lazed etched forever into your brain, and nearly forty years later, I’ve still not been able to make my peace with this edition of quasi symphonic over bloated classical rock.
Of course, Supertramp begun their journey as an obscure Genesis knockoff, where their songs were weighty and esoteric, yet here, with their move to pop culture laden Los Angeles, they sound as if they’ve overdosed on the sunshine and cocaine, in the land of perpetual bliss, where everything was always groovy, and even the structural dichotomy of their songs are so overly excited and laced with Beach Boy style falsettos belaying delightful fantasies of warm summer nights, that even their lyrics, those filled with an essence of foreboding and ennui, coming across as happily offbeat, filled with a wry sense of humor … suggesting that no matter how bad the car crash you were just in was, if you would share a bit of the white powder with the guy you ran into, all will be just f-i-n-e.
With even the album’s artwork coming across tongue in cheek, there was a darker side that was well hidden by the warm radio friendly songs, where the personal and professional relationship of the duo of Davies and Hodgson was falling apart, denoting that they hadn’t even been writing together in years, with the band existing in an atmosphere of civil delicate detente. While Breakfast In America came across thematically architecturally and sonically sound, the stress on the band from Hodgson’s spiritual awaking, and constant attempts to draw others into the fold, caused a fractured divide that was played out in song and verse. [laughing] If only fans knew what they were listening to, and understood the lyrics to this album, Breakfast In America might certainly not have been the resounding hit that it was. According to Hodgson, their rift may have started as far back as 1972, when Davies refused to take LSD with him, saying, “The result of me tripping was that I had my mind open to all kinds of stuff that he didn’t. That created a barrier, because we couldn’t share the experience. LSD is a very strange drug. It started my education again … totally. It lets you see life in a totally different aspect, and allows you to free yourself of everything you’ve been conditioned to for your entire life. It really showed me my potential for growth.”
Regardless, this is not the first album to inspire greatness out of tragedy, and Breakfast In America was certainly the culmination and zenith of all the Supertramp would ever be. While fans waited with upturned faces for their next dose, like Pink Floyd’s Dark Side Of The Moon, Fleetwood Mac’s 1975 self-titled, Patti Smith’s Horses, The Rolling Stones’ Sticky Fingers, and yes, even The Beatles’ Sgt. Pepper, there would never be anything to match this, or those ground breaking releases.
So … while I sit here with the songs roaming though my head, as if I’d just shelved the album, I’m still not going to purchase the vinyl, the remastered vinyl, the CD, or even the re-remastered CD from the original analog tapes, because I understood the lyrics, and it’s a rather uncomfortable album to listen to.
*** The Fun Facts: The album art depicts Kate Murtagh, born on the 29th of October 1920, selected from the Ugly Modeling Agency, known as Libby, and no, she was not an actual waitress, she was a native if Los Angeles, an actress who appeared in The Twilight Zone, I Dream Of Jeanie, My Thee Sons, The Munsters, and many more shows, though is best known for her Statue of Liberty pose, holding a tall glass of orange juice and menu, rather than the fame torch and Tabula Ansata. She later went on tour with Supertramp, where in full waitress regalia, she would introduce the band during their live performances.
On the album jacket, the entire city of New York is viewed from an airplane window, where from behind Libby, the album features food related items painted white, depicting the building, and on the jacket’s reverse, shows the band in a diner with Libby serving them breakfast in America.