After discovering killer Hot Stampers for this Forgotten Classic we feel the album can hold its own with any of Supertramp’s classic ’70s releases, from Crime of the Century all the way through to Breakfast in America.
Our White Hot stamper pressings showed us some of the best Supertramp sound we have ever heard on any of their albums, which is saying a lot. Supertramp is one of the most well-recorded bands in the history of pop music. GEOFF EMERICK took over most of the recording duties after the band decided to work with a different engineer for this, their 1977 album.
KEN SCOTT recorded the two albums that came before this one, Crime and Crisis, and as has been well documented on this very site, he knocked the two of them out of the park.
As I’m sure you know, both famously engineered The Beatles.
What we didn’t know, not until 2015 anyway, was how amazingly well recorded this album was.
In 2005 we noted that we had basically given up on ever finding a good sounding copy of the Even in the Quietest Moments. It’s now ten years later. Having gone gone through more copies than we care to remember we think we’ve got EITQM’s ticket. We think we know which stampers have the potential to sound good as well as the ones to avoid. Finding the right stampers (which are not the original ones for those of you who know the earliest stampers for A&M records) has been a positive boon.
Once we discovered the right stampers we were in a much better position to hear just how well recorded the album is. Now we know beyond all doubt that this recording — the first without Ken Scott producing and engineering for this iteration of the band — is of the highest quality, in league with the best.
Until recently we would never have made such a bold statement. Now it’s nothing less than obvious.
Some Remarkable High Points
Lover Boy is a Demo Quality Track on the best copies. It can be huge, spacious and lively. Getting the strings to sound harmonically rich without sliding into shrillness may not be easy but some copies manage to do it. On the biggest, richest copies the breakdown at about 2:20 is a lot of fun.
On side two the recording quality of the solo piano at the start of the second track From Now On is nothing short of breathtaking. No piano on any Supertramp album sounds as good, and only the White Hot Stamper pressing reproduced it perfectly.
Credit must go to the engineers assisting Geoff Emerick, Peter Henderson and Russel Pope.
Give a Little Bit
Even in the Quietest Moments
From Now On
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. Actually, the cover photo picture of a snow-covered piano sitting on a mountain gives a good indication of what the album sounds like: it’s elegant yet mildly absurd, witty but kind of obscure. It also feels more pop than it actually is, despite the opening single, “Give a Little Bit,” their poppiest song to date, as well as their biggest hit.