more brave than me
more blond than you
e e cummings
May 24, 1975: Supertramp first Billboard Hot 100 single, "Bloody Well Right," peaked at Number 35 after ten weeks on the chart. It failed to chart in the UK.
One theory on Supertramp's "Bloody Well Right" performance in their homeland is that Brits were still offended by the adjective "bloody" in 1975. These days it is considered a mild expletive at best worldwide. The track answers the previous song on the album, "School."
Upon its release, R.E.M.'s debut album drew critical acclaim for its unusual sound.
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| Pat & Mick |
The title of Even in the Quietest Moments... isn't much of an exaggeration. This 1977 album finds Supertramp indulging in some of their quietest moments, spending almost the album in a subdued mood.
"Take the Long Way Home" is the third US single off Supertramp's 1979 album Breakfast in America. According to its composer Roger Hodgson, the song deals with how the desire to go home can go both ways:
September 27, 2009: Israel Kamakawiwoʻole's "Somewhere Over the Rainbow / What a Wonderful World" reached Number 12 on Billboard's Hot Digital Tracks.
Israel "Iz" Kamakawiwoʻole was a singer and activist of Hawaiian ancestry who embodied the words "gentle giant."
Supertramp came into their own on their third album, 1974's Crime of the Century, as their lineup gelled but, more importantly, so did their sound.
July 28, 2001: Incubus peaks at number 9 with "Drive."
"Drive" by the American rock band Incubus released on November 14, 2000, as the third single from their third album, Make Yourself.
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| Incubus |
June 23, 1979: Supertramp's LP Breakfast In America hit Number 1 on the America album chart.
With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide.
April 9, 1977: ABBA earned their only number 1 hit in the United States when "Dancing Queen" went to the top.
“That song was a jam for the longest time, it literally was,” Doobies singer and guitarist Tom Johnston tells UCR. “I would make up different words every night while we were playing it live, because we were in clubs and it didn’t really matter.
Bob Dylan had a surplus of creativity in the mid '60s. In addition to electrifying folk and merging existential poetry with rock 'n' roll, he was turning everything he did into something more.
