Music has a profound way of connecting with people; many listen for pleasure—others find that their playlist reflects their emotions. I admire the artistry of unique sounds and messages, as well as the craftsmanship to create modern masterpieces. In this column, I would like to share my perspective on albums spanning across all different eras and genres.  

This week, I will be analyzing Breakfast In America—Supertramp’s 1979 classic and the fourth best-selling albums of that year.  

Gone Hollywood #3 

Supertramp was known for their uniqueness in which they arranged a lot of the 1970’s & 80’s era progressive rock with British pop; though this album expands on that creativity, using some rootsy jazz solos throughout. Lyrically, Gone Hollywood defines the cruel reality of living a fameless life in Hollywood, surrounded by the “creeps” and the “dumb motel(s) near the taco bell.” Though only hearing this work a few times, I quite enjoyed its message in that expectations rarely match reality.   

The Logical Song #4 

This piece is distinguished by its percussion. Bob Siebenberg, drummer and auxiliary percussionist, executes a series of fills that fit the overall tone of this song. The open, unmuted toms resonate with the reverb-y tone of the song. Though this becomes a dryer tone when the chorus hits and Carl Verheyen delivers his classic rock guitar lines. The lyrics explore ideas of adulting and learning the proper habits to fit into society. However, in reality, the subject desires a journey of self-discovery, rather than following in society’s footsteps. The line “Won’t you please, please tell me what we’ve learned,” leaves some room for interpretation, though I believe that this verse is meant to contradict the idea of learning how to be societally logical, and/or discover one’s true self. This short lyric base is extremely poetic in that it proves a very weighing, valuable message in such a brief series of words, ultimately letting the instruments fill in the blank space.  

Goodbye Stranger #5 

Opening with the iconic synth organ sound, this song functions with minimal changes in chord patterns. These patterns insinuate a change though only make minute alterations to the root which brings a very strong pull to the pre-chorus and chorus. The simplicity throughout the chord progressions is an effective preface to an unhinged guitar outro in which Roger Hodgson expresses his musical freedom—thoughtfully as this song can be interpreted as one of a newly single individual. Building on this idea of being newly single, the band also plays in reference to freeing oneself from the use of marijuana; though I find this to be quite sardonic as this theme was uncommon in the rocking 1970’s. This is a very well-constructed song, and I greatly admire its divide between simplicity and excitement.  

Breakfast In America #1 

The carnival orchestra sound is the driving force of this song. This is one of the many songs on this album that I find to be abstract in the unique sounds that the band presents. Notably the leading title of the album references an inexperienced dreamer’s desire to pursue America. This title directly correlates to other songs in the collection such as Gone Hollywood. Expectant, the narrator sarcastically fantasizes the “delicacy” of kippers in Texas, “Cause everyone’s a millionaire.” Lyrically, there are also some references of dissatisfaction with one’s significant other, a common theme in this album. The verses speak for themselves: “Don’t you look at my girlfriend. She’s the only one I got. Not much of a girlfriend. I never seem to get a lot.” This song sits at the top of my list as a result of the musical creativity and freedom presented.  

Take The Long Way Home #2

Opening with an eerie, intense piano line, this song immediately catches the listeners attention. The harmonica in a progressive rock era is somewhat abstract from my perspective, though I adore it. 

I would describe this song as a powerfully artistic anthem. Syncing the jazzy themes from previous songs in the album with a bluesey harmonica is the definition of Supertramp’s style; they are a fresh perspective for those unfamiliar with their works and can’t help but grab the attention of the listener. The lyrics define the regret of an individual that settled down at the wrong time. They are looking for something more in life and their wife returns glance in dismay. The subject is reflecting on their choices in disappointment: “Does it feel that your life’s become a catastrophe… when you look through the years and see what you could have been.” Despite the songs theme of reflective disappointment, I admire its anthemic structure and find it to be a piece to return to.  

Child Of Vision #6 

This song collectively organized all of the themes and tones in the album and was an astounding way to conclude. A grand piano solo fills the few minutes towards the middle of the song, presenting itself as the distinguished outro for the band’s accomplishment. Lyrically, this track discusses contemporary issues faced throughout social history. The Child Of Vision is one of many that instinctually devotes their life to leisure, rather than challenging themself. The speaker asks for them to “find yourself a new ambition” and not subject their person to the simple effortless activities of life. I find that the song is on theme in relevance to the opening of Gone Hollywood. The listener should be inspired by the artist to seize the opportunities in front of them and not let their decompressive hours inflict any influence on their dreams. This is a stellar track, and I recommend a dedicated listen to both music lovers and anybody reading.  

Unmentioned tracks including Oh Darling, Just Another Nervous Wreck, Casual Conversations, and Lord Is It Mine, continue the album’s themes of self-doubt and reflection.  

I deeply admire this record and continue to return to it for a good listen. I would urge anyone interested to take the time and listen through the stories and artwork that Supertramp possesses.