Supertramp’s Last Supper (Press, 27 April 1979)

The article published on 27 April 1979 presents critiques of several music albums, detailing both their strengths and weaknesses. First on the list is Supertramp's "Breakfast In America," which failed to impress the reviewer despite repeated listenings. The album seems to echo the group's earlier work, particularly in the last track "Child Of Vision," yet it does not achieve the desired impact as a concept album. The reviewer notes a sense of homesickness as observed in the band’s choice of reading material on the back cover, showing mostly British newspapers. Next is Roxy Music's "Manifesto," which indicates the band's attempt to revive its past magic after being dormant since 1975. The opening track sets an unexpected tone with Bryan Ferry's vocals introducing a sense of surprise at the band's return. The album is divided into two parts, with the East Side reflecting a European influence and the West Side focusing on breaking into the American market. Although some tracks incorporate disco and new wave elements, the album's accessibility seems uneven and not easily grasped by listeners. Phil Manzanera's album “'K'-Scope” includes inputs from New Zealand musicians Tim and Neil Finn, alongside other notable contributors. The review suggests that despite the appeal of local talent, the album lacks a distinct identity, and the lead vocals do not resonate well, leaving a more engaging performance from the bass guitarist. Overall, the album is regarded as uninspiring save for a couple of standout moments, including an impressive guitar solo. Lastly, the article assesses Tom Robinson Band's "TRB Two." The review criticises the album’s political overtones for overshadowing the music, suggesting that Robinson's messages feel preachy rather than allowing for audience interpretation. The composition is deemed heavy and devoid of atmosphere, described as not living up to the quality of the group’s debut. The reviewer reflects on Robinson's conflicting decisions regarding political activism, highlighting the struggle between music and his political message. Ultimately, “TRB Two” is viewed as unsuccessful in its attempt to blend these elements.

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