There was one sax and guitar player less, instead they added (for the first time) a percussionist. The line-up was similar to the band that went out in 19, with a couple of differences. Did this unpolished nature feel wrong to the band in retrospect? I can only speculate why the album was never reissued, but I was very glad to find it unexpectedly in that Berlin CD store. So what we got here is almost like an official bootleg, without any mixing, mastered by Bob Ludwig. As Rick explains in the liner notes, the band started recording shows halfway through the tour, straight to 2-track digital tape, and after listening to the tapes, they decided that they had captured some really good recordings. The outlook that this could well have ended up being Supertramp’s final tour perhaps helped influence the release of this live album. On those 1988 shows, Supertramp played a whopping three Hodgson songs (including “School”, which is a co-write). A similar deal between Roger Hodgson and Supertramp would’ve worked, especially considering that Roger wasn’t touring at all in the 80s. Pink Floyd went through a similar divorce in 1986 and it was settled by Roger Waters keeping the rights to The Wall - i.e., the band without him wouldn’t be allowed to play more than three songs from that album per night, aside from the David Gilmour co-writes. The question is whether this dilemma couldn’t have been foreseeable when Roger left the band. Tears for Fears also visited South America for the first time in 1996 and instead of promoting the new album Raoul and the Kings of Spain, the audiences seemed more interested in the hits from 1983 to 1985. Yes, for example, ran into the same thing in the early 2000s when European promoters were very clear that they needed to play “Owner of a Lonely Heart”, which Steve Howe (who didn’t play on the song and doesn’t like it) was less than keen on. Promoters forced the band to include some of Roger’s songs in the set because the audience would expect these hits, which then created a rift between Rick and Dougie Thomson, who left the band after the tour. The band started in Brazil, where they had never been before. I guess it would have been too awkward with Roger having a body of work of his own and either not singing it or mixing Supertramp and Yes material.Īnother Supertramp album - another Supertramp tour. “Walls,” one of the collaborations with Trevor and Alan, ended up on the Talk album.īoth Roger and Jon Anderson are male alto voices, which is pretty rare. It was one of those things that fizzled out and didn’t go anywhere. I stayed at Roger’s house in Northern California once for a few weeks and worked on some material. The band would have been Roger, Trevor Rabin, Alan White, and myself. Whether that would have evolved into Yes at some point, I don’t know. It wasn’t so much to be the lead singer of Yes, but a different project. Roger Hodgson was rumored to be considered for the Yes lead vocal slot when Jon Anderson left for Anderson Bruford Wakeman Howe in the late ‘80s. I sung on an original song that was a Supertramp sound-alike that Billy wrote called “Let the World Revolve.” It was all done quite quickly. We spent a few hours messing around in there. It’s just that Billy was involved in that project and I was visiting him at his studio in his house when he was working on it. It’s a concept Billy and the record label Cleopatra had, which was to have him go around and see how many prog musicians he can collect to play on various things. Prog Collective is something Billy was at the helm of. We’re relatively close again, so we get together from time to time to do various things. Because of geography, we had a break from each other. We didn’t for awhile because I moved away from Los Angeles to London for a few years. Tell me about the rekindling of that collaboration.īilly and I have worked together a lot over the years. You play on Billy Sherwood’s new Songs of the Century Supertramp tribute and Prog Collective albums. Even though I did not think that was a good idea, he and I really hit it off and we did spend quite a bit of time in the studio and, yes, there is music that we did together that has not been released.Ĭhris Squire, on the other hand, has a slightly different story: Roger: Yes, Trevor Rabin contacted me to see if I would like to join Yes. Q: You worked with former Yes member Trevor Rabin in the past – how did you guys originally meet? Is there stuff that you worked on together that has never been released? Is it true that Yes invited you to be their singer? I guess it would have been too awkward with Roger having a body of work of his own and either not singing it or mixing Supertramp and Yes material. Click to expand.Both Roger and Jon Anderson are male alto voices, which is pretty rare.
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