{"id":38471,"date":"2005-08-11T00:00:00","date_gmt":"2005-08-11T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/crime-of-the-century\/"},"modified":"2005-08-11T00:00:00","modified_gmt":"2005-08-11T00:00:00","slug":"crime-of-the-century","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/crime-of-the-century\/","title":{"rendered":"Crime Of The Century"},"content":{"rendered":"<p>Opening with a lone harmonica, this signaled the advent of<br \/>\ncommercial-era Supertramp, an era which would result in three great<br \/>\nalbums and two mediocre ones.<\/p>\n<p>I would venture to say this is the band&#8217;s best album, mainly<br \/>\nbecause it&#8217;s strong throughout while retaining the Supertramp feel.<br \/>\nIt&#8217;s darker than<br \/>\n<i>Breakfast In America<\/i> and poppier than<br \/>\n<i>Even In The Quietest Moments<\/i>, and far better than<br \/>\n<i>Crisis? What Crisis?<\/i><\/p>\n<p>Why? The band knows how to build up tension, not just with the<br \/>\ninstrumental passages but with the lighter pop tunes as well. There<br \/>\nis a definite mood in the beginning of &#8220;School,&#8221; which explodes<br \/>\ninto the rock part of the track, which then gives way to a piano<br \/>\nsolo that Billy Joel would have paid for.<\/p>\n<p>This gives way to &#8220;Bloody Well Right,&#8221; with a playful piano<br \/>\nintro and Roger Hodgson doing his best David Gilmour singing voice<br \/>\nover the verse (Gilmour returned the favor by playing guitar on<br \/>\n&#8220;Brother Where You Bound&#8221; in 1985). The horns lend a bit of flavor<br \/>\nto the song, but it mostly gets by on guitar crunch and<br \/>\nattitude.<\/p>\n<p>&#8220;Hide In Your Shell&#8221; is a slower piece that builds up to a more<br \/>\npowerful climax three times, altering the ending a little each<br \/>\ntime, while &#8220;Asylum&#8221; is the only forgettable song here, not really<br \/>\npicking up steam until the end with some annoying yelping over a<br \/>\nstop-start rock passage.<\/p>\n<p>&#8220;Dreamer&#8221; was the biggest hit here (in 1980, six years later), a<br \/>\nshort but sprightly piano-driven piece that &#8212; like most of the<br \/>\nsongs here &#8212; starts simply and builds in intensity, adding<br \/>\ninstruments until the explosive finale and, finally, a lone<br \/>\nxylophone fading off in the distance. It&#8217;s the song that exposed<br \/>\nthe band to America, and rightly so.<\/p>\n<p>The second side is a lot more progressive than the first, with<br \/>\nthe 7-minute &#8220;Rudy&#8221; acting as a melding of Queen and Jethro Tull<br \/>\nand an Elton John-like piano piece called &#8220;If Everyone Was<br \/>\nListening&#8221; that would have fit well on<br \/>\n<i>Goodbye Yellow Brick Road<\/i>. But the centerpiece of the album<br \/>\nis the title track, which starts with a short and unsettling rock<br \/>\nsong before moving into the coda, a three-minute piano\/guitar\/sax<br \/>\nduel that is among the most passionate ever put onto a rock<br \/>\nrecord.<\/p>\n<p>Six of these eight songs made it on the band&#8217;s<br \/>\n<i>Very Best Of<\/i>, which should say it all. This is Supertramp&#8217;s<br \/>\nbest album and a high point of the progressive-pop subcategory, but<br \/>\nit&#8217;s also a testament to the emotion prog-rock bands were often<br \/>\naccused of lacking.<\/p>\n","protected":false},"author":45,"featured_media":27133,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[6166],"rating":[5613],"class_list":["post-38471","review","type-review","status-publish","has-post-thumbnail","artist-supertramp","rating-rating-a-minus"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38471","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/45"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=38471"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38471\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/27133"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=38471"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=38471"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=38471"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}