martes, 27 de marzo de 2012
domingo, 11 de marzo de 2012
jueves, 9 de febrero de 2012
Entradas en venta
Entradas en venta para el Metropolitano de Rosario (18 de abril).
Click en el menú de la derecha para comprar entradas.
Click en el menú de la derecha para comprar entradas.
miércoles, 1 de febrero de 2012
Ake Music: Roger Hodgson en el Lawn Tennis Club
Gacetilla oficial de Ake Music, la productora que trae Roger Hodgson nuevamente a nuestro país.
Roger Hodgson Lawn Tennis Club - 19 de abril de 2012
Roger Hodgson, la legendaria voz de Supertramp, se presentará el próximo mes de abril de 2012 en el Lawn Tennis Club de Buenos Aires.
Reconocido como uno de los músicos, cantantes y letristas más apreciados de nuestra época, compositor de éxitos como ‘Give a little bit’, ‘The logical song’, ‘Dreamer’, ‘Take the long way home’, ‘Breakfast in America’, ‘It’s raining again’, ‘School’ y ‘Fool’s overture’, sus canciones superaron el paso del tiempo.
Durante la época en que Roger lideró el grupo, Supertramp vendió más de 60 millones de discos y se convirtió en un fenómeno del rock a nivel mundial.
Roger nació en Portsmouth, Inglaterra, y pasó la mayor parte de su infancia en una residencia de estudiantes, donde la guitarra se convirtió en su mejor amiga. A la edad de 12 años empezó a escribir canciones; poco a poco fue aprendiendo a tocar el piano, el bajo, la batería e incluso el violonchelo.
Tiempo después de abandonar el instituto, Roger grabó su primer disco, un single llamado ‘Mr. Boyd’, con una banda de sesiones bautizada como Argosy de la que formaba parte el pianista Reg Dwight, quien más tarde se haría famoso bajo el seudónimo de Elton John. En aquella época Roger conoció a Rick Davies y entre ambos formaron el núcleo de Supertramp. En 1969 publicaron su primer disco, también llamado ‘Supertramp’. Roger tenía entonces 19 años.
Poco después de su segundo álbum, Roger y Rick comenzaron a componer por separado, aunque siguieron firmando las canciones de forma conjunta. En 1973 el grupo lanzó ‘Crime of the century’, cuya canción ‘Dreamer’, escrita por Roger, se convirtió en un éxito mundial e impulsó al disco hasta lo más alto de las listas.
A lo largo de los ocho años siguientes, Supertramp editó cuatro discos de estudio que les llevaron por distintas giras alrededor del mundo. El punto culminante de la carrera del grupo tuvo lugar con el éxito mundial del álbum ‘Breakfast in America’, que vendió 18 millones de copias. Las composiciones y la producción de Roger dieron sus frutos en tres famosos singles extraídos del disco: ‘The logical song’, ‘Take the long way home’ y ‘Breakfast in America’.
Roger dejó Supertramp en 1983, después de la gran gira promocional del disco ‘Famous last words’, para vivir en la naturaleza junto a su nueva familia y seguir adelante con su búsqueda espiritual. Se construyó un estudio en su casa con el fin de poder seguir trabajando, mientras se dedicaba a criar a sus dos hijos pequeños. Su primer disco en solitario, ‘In the eye of the storm’, fue publicado en 1984 y se convirtió en un éxito internacional, llegando a vender más de 2 millones de copias, aunque Roger prefirió quedarse en casa con su familia en vez de salir de gira. En 1987, la misma semana que se publicaba su segundo disco (‘Hai hai’), Roger tuvo un accidente casero y se rompió las dos muñecas. Los médicos le dijeron que no podría volver a tocar jamás, pero después de un largo período de recuperación y terapia, él les demostró que estaban equivocados.
Diez años después publicó su primer disco en directo, ‘Rites of passage’, al que le siguió -en al año 2000- un nuevo álbum de estudio, ‘Open the door’.
‘Retrospectacle - The Supertramp Anthology’, publicado en 2005, es un disco doble que contiene muchos clásicos grabados por Supertramp entre 1969 y 2005. Este recopilatorio recoge gran parte del legado de Roger, ya que compuso y cantó 14 de las 32 canciones contenidas.
Actualmente Roger sigue componiendo música y tiene más de 60 canciones aún inéditas. En sus shows actuales se presenta solo y, otras veces, acompañado de orquestas, e interpreta un amplio repertorio de sus grandes éxitos con Supertramp y de su etapa como solista.
Treinta y cinco años después de componer ‘Give a little bit’, Roger fue galardonado por dicha canción, una de las más interpretadas a lo largo del año 2005 en el repertorio de la ASCAP (Sociedad Americana de Compositores, Autores y Editores).
En 2006 Roger publicó su primer DVD, grabado en directo durante una de sus actuaciones en Quebec. ‘Take the long way home - Live in Montreal’ alcanzó la categoría de disco de platino en solo siete semanas y llegó al número 1 de todas las listas de Canadá, donde ya es disco de multi-platino. El DVD fue publicado a escala mundial en Septiembre de 2007.
También durante el 2007 volvió a recibir un nuevo premio de la ASCAP a raíz del gran éxito obtenido por una nueva versión de ‘Breakfast in America’.
El deporte para el que fue creado el estadio.
Ubicaciones del estadio
Mozart Fest, uno de los espectáculos musicales que tuvo lugar en el Lawn Tennis.
Roger Hodgson Lawn Tennis Club - 19 de abril de 2012
Roger Hodgson, la legendaria voz de Supertramp, se presentará el próximo mes de abril de 2012 en el Lawn Tennis Club de Buenos Aires.
Reconocido como uno de los músicos, cantantes y letristas más apreciados de nuestra época, compositor de éxitos como ‘Give a little bit’, ‘The logical song’, ‘Dreamer’, ‘Take the long way home’, ‘Breakfast in America’, ‘It’s raining again’, ‘School’ y ‘Fool’s overture’, sus canciones superaron el paso del tiempo.
Durante la época en que Roger lideró el grupo, Supertramp vendió más de 60 millones de discos y se convirtió en un fenómeno del rock a nivel mundial.
Roger nació en Portsmouth, Inglaterra, y pasó la mayor parte de su infancia en una residencia de estudiantes, donde la guitarra se convirtió en su mejor amiga. A la edad de 12 años empezó a escribir canciones; poco a poco fue aprendiendo a tocar el piano, el bajo, la batería e incluso el violonchelo.
Tiempo después de abandonar el instituto, Roger grabó su primer disco, un single llamado ‘Mr. Boyd’, con una banda de sesiones bautizada como Argosy de la que formaba parte el pianista Reg Dwight, quien más tarde se haría famoso bajo el seudónimo de Elton John. En aquella época Roger conoció a Rick Davies y entre ambos formaron el núcleo de Supertramp. En 1969 publicaron su primer disco, también llamado ‘Supertramp’. Roger tenía entonces 19 años.
Poco después de su segundo álbum, Roger y Rick comenzaron a componer por separado, aunque siguieron firmando las canciones de forma conjunta. En 1973 el grupo lanzó ‘Crime of the century’, cuya canción ‘Dreamer’, escrita por Roger, se convirtió en un éxito mundial e impulsó al disco hasta lo más alto de las listas.
A lo largo de los ocho años siguientes, Supertramp editó cuatro discos de estudio que les llevaron por distintas giras alrededor del mundo. El punto culminante de la carrera del grupo tuvo lugar con el éxito mundial del álbum ‘Breakfast in America’, que vendió 18 millones de copias. Las composiciones y la producción de Roger dieron sus frutos en tres famosos singles extraídos del disco: ‘The logical song’, ‘Take the long way home’ y ‘Breakfast in America’.
Roger dejó Supertramp en 1983, después de la gran gira promocional del disco ‘Famous last words’, para vivir en la naturaleza junto a su nueva familia y seguir adelante con su búsqueda espiritual. Se construyó un estudio en su casa con el fin de poder seguir trabajando, mientras se dedicaba a criar a sus dos hijos pequeños. Su primer disco en solitario, ‘In the eye of the storm’, fue publicado en 1984 y se convirtió en un éxito internacional, llegando a vender más de 2 millones de copias, aunque Roger prefirió quedarse en casa con su familia en vez de salir de gira. En 1987, la misma semana que se publicaba su segundo disco (‘Hai hai’), Roger tuvo un accidente casero y se rompió las dos muñecas. Los médicos le dijeron que no podría volver a tocar jamás, pero después de un largo período de recuperación y terapia, él les demostró que estaban equivocados.
Diez años después publicó su primer disco en directo, ‘Rites of passage’, al que le siguió -en al año 2000- un nuevo álbum de estudio, ‘Open the door’.
‘Retrospectacle - The Supertramp Anthology’, publicado en 2005, es un disco doble que contiene muchos clásicos grabados por Supertramp entre 1969 y 2005. Este recopilatorio recoge gran parte del legado de Roger, ya que compuso y cantó 14 de las 32 canciones contenidas.
Actualmente Roger sigue componiendo música y tiene más de 60 canciones aún inéditas. En sus shows actuales se presenta solo y, otras veces, acompañado de orquestas, e interpreta un amplio repertorio de sus grandes éxitos con Supertramp y de su etapa como solista.
Treinta y cinco años después de componer ‘Give a little bit’, Roger fue galardonado por dicha canción, una de las más interpretadas a lo largo del año 2005 en el repertorio de la ASCAP (Sociedad Americana de Compositores, Autores y Editores).
En 2006 Roger publicó su primer DVD, grabado en directo durante una de sus actuaciones en Quebec. ‘Take the long way home - Live in Montreal’ alcanzó la categoría de disco de platino en solo siete semanas y llegó al número 1 de todas las listas de Canadá, donde ya es disco de multi-platino. El DVD fue publicado a escala mundial en Septiembre de 2007.
También durante el 2007 volvió a recibir un nuevo premio de la ASCAP a raíz del gran éxito obtenido por una nueva versión de ‘Breakfast in America’.
El deporte para el que fue creado el estadio.
Ubicaciones del estadio
Mozart Fest, uno de los espectáculos musicales que tuvo lugar en el Lawn Tennis.
martes, 24 de enero de 2012
Tour Sudámerica 2012. Fechas en Argentina
Nueva gira Sudamericana, con tres fechas en nuestro país. Al igual que en la gira de 1998, dos ciudades del interior podrán disfrutar del show: Rosario y Córdoba.
Estadio Orfeo, Cordoba.
Interior del estadio.
Como llegar. Tickets en venta a partir de hoy, 24 de enero.
Teatro Broadway, Rosario. Aunque este teatro figuraba en la web oficial de Hodgson, el lugar del evento fue modificado. La actuación será en el Metropolitano de Rosario.
miércoles, 13 de octubre de 2010
John Helliwell en la revista "Pelo" 1985 (Español/English)
La interpretación de varias canciones compuestas por Roger Hodgson en la actual gira de Supertramp, generó innumerables controversias. Hodgson afirma que Rick Davies incumplió un pacto de caballeros al interpretar canciones compuestas por él (Dreamer, The Logical song, Take the long way home, entre otras, son parte del repertorio del presente tour). Rick Davies responde que seiscientas páginas legales avalan su actuación.
A fines de 1985, con motivo de la publicación de "Brother were you bound", la revista argentina "Pelo" publicó un breve reportaje a John Helliwell. Acaso las respuestas ofrecidas por Helliwell en aquél momento puedan arrojar algo de luz a la presente disputa.
LA PIEL ADECUADA
A fines de la década del setenta, Supertramp se instaló en la primera plana mundial del rock a través de un sonido único e inconfundible y debido a su mayor parte a la inspiración y el talento de su líder, Roger Hodgson. Más tarde llegaron la separación, el exilio y, ahora, el retorno. Sin Hodgson, con un nuevo álbum y una nueva propuesta, esto es Supertramp.
El año '85 se viene caracterizando, entre otras cosas, por ser el momento del resurgimiento de algunas bandas de veteranos en el rock. Una de esas bandas es Supertramp. Disuelto a comienzos de los '80, Supertramp tuvo su mejor momento a fines de la década pasada. Hoy el grupo vuelve con un disco ("Brother Where You Bound"), sin su líder original, Roger Hodgson, y con el tecladista Rick Davies al mando. En esta nota, John Helliwell, uno de los cuatro integrantes actuales de Supertramp, explica cuál es el momento de la banda y su funcionamiento sin Hogdson.
DOS LÍNEAS
¿Cómo fue que Roger Hodgson abandonó Supertramp?
Roger es un compositor muy prolífico y en los últimos tiempos no encontraba espacio en el grupo para todo lo que escribía. Como no quería limitarse musicalmente optó por irse y comenzar con su carrera solista.
¿Sabes cuál es la opinión de Hodgson sobre el nuevo trabajo del grupo, "Brother Where You Bound"?
Nos dijeron que al escuchar el lado “A” le gustó mucho.
¿Cómo definís la línea de Supertramp sin Hogdson?
En el grupo existían dos líneas de temas bien definidas. Una era la que marcaba Roger y la otra era la de Rick Davies. Es evidente que ahora seguimos la línea de Davies, con los pies mucho más en la tierra y algunos toques más cercanos al jazz y al rhythm & blues.
¿Y en qué consistirá el material que el grupo tocará en vivo en su próxima gira? ¿Van a presentar solamente el material nuevo?
En la gira que preparamos, las canciones serán sobre todo las del nuevo álbum. Entre Supertramp y Hodgson hay un acuerdo: nosotros tocaremos las viejas canciones del grupo, pero no las compuestas por él. Los temas de Supertramp compuestos por Hodgson sólo los tocará en vivo el mismo autor.
ILUSTRE INVITADO
En el nuevo álbum hay un ilustre invitado. Se llama David Gilmour. ¿Cómo llegó Gilmour a grabar con Supertramp?
En un momento de la preparación del disco, nos detuvimos en la búsqueda de un sonido especial. Cuando nos dimos cuenta que el sonido que queríamos era exactamente el de Pink Floyd, llamamos a Gilmour. No lo conocíamos, pero de todas formas lo llamamos. Estuvimos hablando, a él le interesó y vino. Eso fue todo. El sonido que queríamos sólo lo podíamos obtener con él en el estudio.
Supertramp con David Gilmour. La foto permaneció inédita en la web, hasta hoy. David Kershenbaum produjo el álbum, aunque no sé si es él quien está en el centro de la foto.
¿Se puede decir que, efectivamente, Rick Davies es, el líder del Supertramp actual?
Digamos que Davies pone el esqueleto y la carne, y los demás le hacemos la piel adecuada. En la carrera de Supertramp no hay una línea definida de trabajo. Cada disco es diferente en su forma de construirse.
¿Hay algo que te resulta interesante entre las nuevas propuestas que provienen de Inglaterra?
Sí, hay buena gente. Espero lo mejor de Paul Young, Tears For Fears y Go West. Lo que han hecho me gustó mucho.
Confirmado. Quien está en en el centro de la foto es David Kershenbaum. Aquí junto a Geoff Emerick, ingeniero en "Even in the quietest moments" y varios álbums de The Beatles.
English translation by Helena Chavarría
THE RIGHT SKIN
In the late 70s, Supertramp took the leading role in the world of rock thanks to its unmistakable and unique sound, which was mostly due to the inspiration and the talent of its leader, Roger Hodgson. Later, would come the separation, the exile and, now, the come back. Without Hodgson, with a new album and with a new proposal, this is Supertramp.
Among other things, 1985 stands out as the moment in which some of the veteran rock bands reappear on the scene. One of these bands is Supertramp. Breaking up in the early 80s, Supertramp lived its most successful moment at the end of the last decade. The group is now making its reappearance with an album ("Brother Where You Bound") without its original leader, Roger Hodgson, with the keyboard player, Rick Davies, at the helm. In this note, John Helliwell, one of the four current members of Supertramp, explains what the band is currently doing and how it works without Hodgson.
TWO LINES
Why did Roger Hodgson abandon Supertramp?
Roger is a very prolific composer and lately he was finding that there wasn’t enough room in the group for everything he was writing. Since he didn’t want to limit himself musically, he decided to leave the band and start his career as a soloist.
Do you know Hodgson’s opinion of the group’s new work, “Brother Where You Bound"?
After listening to side one, he said that he liked it very much.
How would you define the line of Supertramp without Hodgson?
The group used to have two well-defined thematic lines. One was marked by Roger and the other was marked by Rick Davies. Now it’s evident that we are following Davies’s line, with our feet very much more on the ground with a few touches that are closer to jazz and rhythm & blues.
And what material will the group perform live on its next tour?
Are they going to present new material?
On the tour we’re preparing we will mainly perform songs from the new album. There is an agreement between Supertramp and Hodgson: we will play the group’s old songs but not those composed by him. The Supertramp themes composed by Hodgson will only be performed live by the author himself.
A DISTINGUISHED GUEST
In the new album there is a distinguished guest. His name is David Gilmour.
How did Gilmour come to record with Supertramp?
At a certain moment while we were preparing the album, we spent some time searching for a special sound. When we realised that the sound we were looking for exactly matched that of Pink Floyd, we phoned Gilmour. We didn’t know him, but we phoned him all the same. That’s all there is to it. We could only get the sound we wanted with him in the studio.
Can we say that Rick Davies is, effectively, the leader of the present Supertramp?
We could say that Davies provides the skeleton and the flesh and the rest of us provide the skin that fits. In Supertramp’s career there isn’t a defined line of work. Each album is constructed in a different way.
Is there anything among the new proposals that are coming from England that interests you?
Yes, there are some good people. I am expecting the best from Paul Young, Tears for Fears and Go West. I really like what they have produced.
A fines de 1985, con motivo de la publicación de "Brother were you bound", la revista argentina "Pelo" publicó un breve reportaje a John Helliwell. Acaso las respuestas ofrecidas por Helliwell en aquél momento puedan arrojar algo de luz a la presente disputa.
LA PIEL ADECUADA
A fines de la década del setenta, Supertramp se instaló en la primera plana mundial del rock a través de un sonido único e inconfundible y debido a su mayor parte a la inspiración y el talento de su líder, Roger Hodgson. Más tarde llegaron la separación, el exilio y, ahora, el retorno. Sin Hodgson, con un nuevo álbum y una nueva propuesta, esto es Supertramp.
El año '85 se viene caracterizando, entre otras cosas, por ser el momento del resurgimiento de algunas bandas de veteranos en el rock. Una de esas bandas es Supertramp. Disuelto a comienzos de los '80, Supertramp tuvo su mejor momento a fines de la década pasada. Hoy el grupo vuelve con un disco ("Brother Where You Bound"), sin su líder original, Roger Hodgson, y con el tecladista Rick Davies al mando. En esta nota, John Helliwell, uno de los cuatro integrantes actuales de Supertramp, explica cuál es el momento de la banda y su funcionamiento sin Hogdson.
DOS LÍNEAS
¿Cómo fue que Roger Hodgson abandonó Supertramp?
Roger es un compositor muy prolífico y en los últimos tiempos no encontraba espacio en el grupo para todo lo que escribía. Como no quería limitarse musicalmente optó por irse y comenzar con su carrera solista.
¿Sabes cuál es la opinión de Hodgson sobre el nuevo trabajo del grupo, "Brother Where You Bound"?
Nos dijeron que al escuchar el lado “A” le gustó mucho.
¿Cómo definís la línea de Supertramp sin Hogdson?
En el grupo existían dos líneas de temas bien definidas. Una era la que marcaba Roger y la otra era la de Rick Davies. Es evidente que ahora seguimos la línea de Davies, con los pies mucho más en la tierra y algunos toques más cercanos al jazz y al rhythm & blues.
¿Y en qué consistirá el material que el grupo tocará en vivo en su próxima gira? ¿Van a presentar solamente el material nuevo?
En la gira que preparamos, las canciones serán sobre todo las del nuevo álbum. Entre Supertramp y Hodgson hay un acuerdo: nosotros tocaremos las viejas canciones del grupo, pero no las compuestas por él. Los temas de Supertramp compuestos por Hodgson sólo los tocará en vivo el mismo autor.
ILUSTRE INVITADO
En el nuevo álbum hay un ilustre invitado. Se llama David Gilmour. ¿Cómo llegó Gilmour a grabar con Supertramp?
En un momento de la preparación del disco, nos detuvimos en la búsqueda de un sonido especial. Cuando nos dimos cuenta que el sonido que queríamos era exactamente el de Pink Floyd, llamamos a Gilmour. No lo conocíamos, pero de todas formas lo llamamos. Estuvimos hablando, a él le interesó y vino. Eso fue todo. El sonido que queríamos sólo lo podíamos obtener con él en el estudio.
Supertramp con David Gilmour. La foto permaneció inédita en la web, hasta hoy. David Kershenbaum produjo el álbum, aunque no sé si es él quien está en el centro de la foto.
¿Se puede decir que, efectivamente, Rick Davies es, el líder del Supertramp actual?
Digamos que Davies pone el esqueleto y la carne, y los demás le hacemos la piel adecuada. En la carrera de Supertramp no hay una línea definida de trabajo. Cada disco es diferente en su forma de construirse.
¿Hay algo que te resulta interesante entre las nuevas propuestas que provienen de Inglaterra?
Sí, hay buena gente. Espero lo mejor de Paul Young, Tears For Fears y Go West. Lo que han hecho me gustó mucho.
Confirmado. Quien está en en el centro de la foto es David Kershenbaum. Aquí junto a Geoff Emerick, ingeniero en "Even in the quietest moments" y varios álbums de The Beatles.
English translation by Helena Chavarría
THE RIGHT SKIN
In the late 70s, Supertramp took the leading role in the world of rock thanks to its unmistakable and unique sound, which was mostly due to the inspiration and the talent of its leader, Roger Hodgson. Later, would come the separation, the exile and, now, the come back. Without Hodgson, with a new album and with a new proposal, this is Supertramp.
Among other things, 1985 stands out as the moment in which some of the veteran rock bands reappear on the scene. One of these bands is Supertramp. Breaking up in the early 80s, Supertramp lived its most successful moment at the end of the last decade. The group is now making its reappearance with an album ("Brother Where You Bound") without its original leader, Roger Hodgson, with the keyboard player, Rick Davies, at the helm. In this note, John Helliwell, one of the four current members of Supertramp, explains what the band is currently doing and how it works without Hodgson.
TWO LINES
Why did Roger Hodgson abandon Supertramp?
Roger is a very prolific composer and lately he was finding that there wasn’t enough room in the group for everything he was writing. Since he didn’t want to limit himself musically, he decided to leave the band and start his career as a soloist.
Do you know Hodgson’s opinion of the group’s new work, “Brother Where You Bound"?
After listening to side one, he said that he liked it very much.
How would you define the line of Supertramp without Hodgson?
The group used to have two well-defined thematic lines. One was marked by Roger and the other was marked by Rick Davies. Now it’s evident that we are following Davies’s line, with our feet very much more on the ground with a few touches that are closer to jazz and rhythm & blues.
And what material will the group perform live on its next tour?
Are they going to present new material?
On the tour we’re preparing we will mainly perform songs from the new album. There is an agreement between Supertramp and Hodgson: we will play the group’s old songs but not those composed by him. The Supertramp themes composed by Hodgson will only be performed live by the author himself.
A DISTINGUISHED GUEST
In the new album there is a distinguished guest. His name is David Gilmour.
How did Gilmour come to record with Supertramp?
At a certain moment while we were preparing the album, we spent some time searching for a special sound. When we realised that the sound we were looking for exactly matched that of Pink Floyd, we phoned Gilmour. We didn’t know him, but we phoned him all the same. That’s all there is to it. We could only get the sound we wanted with him in the studio.
Can we say that Rick Davies is, effectively, the leader of the present Supertramp?
We could say that Davies provides the skeleton and the flesh and the rest of us provide the skin that fits. In Supertramp’s career there isn’t a defined line of work. Each album is constructed in a different way.
Is there anything among the new proposals that are coming from England that interests you?
Yes, there are some good people. I am expecting the best from Paul Young, Tears for Fears and Go West. I really like what they have produced.
viernes, 20 de agosto de 2010
Gran Rex Concert Review (English)
Review of the Roger Hodgson show at the Gran Rex in Buenos Aires, Argentina, on May 11th 2010
By Walter Alarcón
English translation by Helena Chavarría
Photos: Natalia Luján
Thanks to Abel Fuentes and The Logical Web
Fifteen months after his first presentation in Corrientes Street, Roger Hodgson returned to the Gran Rex and offered us what can undoubtedly be considered to be his best concert in Argentina.
Counting this one, this was Roger’s third visit to our country. Even today, we remember the five recitals he offered in 1998 in the Coliseo Theatre, and the wonderful concert that took place in February of last year, after a wait of nearly eleven years to see him fulfil his promise to return.
The performances in the Coliseo have been branded on the collective memory of the local audience, due to the fact they were concerts of mutual discovery. Hodgson was returning to the stage after decades of absence and he was presenting "Rites of Passage”, the album that gave him back his tours and which enabled him to debut in our country. For the first time, the Argentinean audience was going to be able to watch an artiste for whom they had been waiting for over twenty years.
The sensations of that period, a surprise for Hodgson who had been greeted by an audience which he had possibly not expected, and which had displayed emotion, fervour, and tears that were captured by "Puerta V”, the television programme that circulates amongst our fans like a document of cult.
For all these reasons, it would not be an easy task to reach the summit of musical intensity and perfection of these two visits. Needless to say, the concert that took place in the Gran Rex on 11 May surpassed our expectations.
This time, with respect to last year, the local producer improved their bet. There was graphic advertising on the streets, advertisements on television and several radio interviews (some of which can be listened to here) that ensured greater publicity. Many of the people who came to the Gran Rex had made the journey from bounder countries (Chile, Uruguay) or from provinces as far away as Catamarca, Río Negro or Misiones, among others.
Thanks to the internet, great expectations had been generated. Social networks, blogs, mail threads and websites from very many countries were following this performance with special interest and were providing updated information by the minute.
In the early afternoon of Tuesday 11, a crowd of fans was waiting outside the doors of the theatre.
Among them, there were not only Hodgson fans, but also fans of Genesis, Yes and Pink Floyd, who were keen on seeing the author of key pieces of symphonic rock.
The nervousness could be felt everywhere. The doors of the Gran Rex, which is one of the most important theatres in Buenos Aires, opened two hours before the performance. The auditorium filled in just over an hour and after listening to the support band (about which, I am very sorry to say, I have no information) the level of expectation and nervousness increased. Hands began to clap and Roger’s name began to be chanted by an impatient audience.
A new band had been specially created for the South American concerts. For those who did not realise it, it is necessary to mention that the musicians who appeared in the programme were not the same people who were on the stage. With regards to last year’s formation, only the multi-musician who accompanies Roger on his acoustic tours, Aaron McDonald, was present.
At exactly 9.30 p.m., the first notes of "Take the Long Way Home” opened the concert and Aaron McDonald’s harmonica gave way to Hodgson’s wonderful voice. The singer sung the first verses and from this moment onwards the audience roared. Three thousand people rose to their feet to applaud his return. The interpretation was intense and magnificent and culminated in a standing ovation. The stage lights lit up with a white light, they rotated from the stage towards the balconies and stalls and they threw light onto a fervent multitude.
This time, a deafening song burst from the theatre seats towards the stage. "Oh-ohoh-oh-oh, Oh-ohoh-oh-oh” was the clamour from the multitude. For the benefit of those people who do not know the melody (or for those who are too young to know it) it originates from "Rain Dance”, the song that is sung at the Woodstock festival, an emblem of the hippy movement of the 60s and the highest level of excellence acknowledged by the local public. Roger stood up, he took hold of his acoustic guitar and he went towards the centre of the stage to present himself to the audience.
"Ole, Ole, Ole Roger… Roger, Roger…” was the deafening chorus that thundered around the theatre and which stopped him from talking.
"Good evening. How are you?” he finally managed to say in perfect Spanish, before continuing in English, "It is so nice to be back in Argentina. How are you my friends? I’m very happy to be here tonight”.
It was obvious to see that he was feeling as emotional as us. He shivered, his shoulders shuddering, as though he was suddenly feeling cold, before exclaiming,
"It´s so good to see you, I love Argentina” just before he presented a classic of classics.
He strummed the first chords on his guitar to introduce "School”.
The new rhythmical base, Bryan Head on the drums and Ian Stewart on the bass guitar, provided a compact sound. Both musicians added a vital beat to the songs, resulting in a strong and enveloping sound. Throughout the quiet passages, they provided all the details and subtleties of the original recordings.
The new arrival on the keyboards, Kevin Adamson, who was placed on the left of the stage, behind Hodgson, performed the "School” solo impeccably. It could be said that maybe there was a lack of volume, or that was the impression that was received from the centre of the stalls.
"I know this song has helped many people in difficult moments” mentioned Hodgson before presenting one of my most favourite songs, "Hide in your Shell”, a gem of symphonic rock.
When I observed the audience around me, I was met by a touching scene. Everyone seemed immersed within a whirlwind of emotions. Silence and beauty throughout the performance, applause after the final verse, until the palms of our hands were worn out. At one moment, I turned my head and I saw the balconies above and it seemed as though the whole theatre was going to collapse. Cries, happiness and emotion were flowing out from several generations of listeners. Parents and their children, even whole families, were listening to the music that had accompanied them throughout their lives, live on stage.
A few moments later, Hodgson seated himself in front of the grand piano, he asked for everyone to be quiet and before performing the next song, he said, "The most important thing in life is love”. Then "Lovers in the Wind”, the touching ballad from "In the Eye of the Storm”, his first album as a soloist, emerged from the loud speakers. His voice, despite the exhausting tours around the world, remains intact as one of the most memorable voices of the great rock bands.
One of the songs I prefer to hear live, rather than the recorded studio version, is "Soapbox Opera” and that was what came next. A chorus of angels preceded the soft notes that come from the piano, which cause one to tremble when they are heard. The version sounded very similar to that included in "Paris” and this can only prove the merit of a newly-formed band. The group was perfect and we should take into account that for this band, which had been formed especially for Argentina, it was the first time they were playing with Hodgson in front of a huge audience.
The initial whistling of the warm "Easy Does It” led us to the most intimate moment of communion of the performance. All of us tried our best not to whistle out of tune, and the whistling from the whole audience created the same magic that this song produces in the rest of the world.
The next songs were "Sister Moonshine” and "Breakfast in America”, the latter with an additional coda, which caused enormous enthusiasm amongst the audience. So much so, that before presenting the next song, "Along Came Mary”, Hodgson, who was visibly moved, said,
"I think I’m going to take you all with me on tour”... which caused great emotion among the audience.
It can possibly be said that from amongst all his compositions, the greatest conjunction between lyrics and music is "The Logical Song”. Before performing it, he explained something about its history,
"When I was at school, they told me that there I would be able to learn everything; but when I finished, I realised that I still didn’t know who I was... ”
His hands struck the keyboard and the band sounded out at full force in a performance charged with energy. Aaron Mc Donald was marvellous. His sax solo ended with roaring applause which spontaneously interrupted the song before it ended. Each and every one of McDonald’s performances, whether they had been offered on saxes, clarinets, keyboards, flute or the rest of the instruments he played, were charged with energy, feelings and precision.
The grand piano was the protagonist of the most personal track from the album "Breakfast in America”; "Lord is it Mine” was presented by Hodgson as his favourite song. The performance, as lately seems to be the case, sounded slightly faster than the original version.
There was something in Hodgson, maybe a spiritual connection that had been established with the audience, which provided a unique sensation of peace and comfort. It was an experience that was outside sensorial limits, which inundated the mind and the soul like a balsam.
Next followed a song that would test the set up and the dynamics of the band, "Child of Vision”. The well-known keyboard introduction fully anticipated the rhythmical base. The drummer went to town on the drums and cymbals, in perfect synchronisation with the bass guitar and together they established the space for the dialogue that took place between the keyboards. The voices perfectly complemented the verses which make up the vocal duel, to end with the stupendous piano solo played by Kevin Adamson. It was undoubtedly a brilliant interpretation.
The material from the soloist albums was scarce. Only the two that have already been mentioned: "Lovers in the wind” from "In the Eye of the Storm” and "Along Came Mary” from "Open the Door”. It was a shame not to be able to listen to "Puppet Dance”, which was a radio hit here, or "In Jeopardy”, which the audience asked for over and over again.
Nonetheless, in what was going to be the first time for us in this country was the opportunity to listen to "The Awakening”. Roger presented the song and he explained that it spoke of the forgiveness of others and, possibly the most difficult thing of all, the forgiveness of ourselves. The lights blacked out, the halo produced by a spotlight descended down towards him, and the full and crystalline sound of the 12-string acoustic guitar filled the theatre. These are the lyrics of the song:
By the time you wake
And forgive yourself your mistakes
It’s the time it takes
To rewrite your story
By the light of truth
And the passion you felt in your youth
As your heart breaks free
You rewrite your story
So let go
Spirit flow
You are awakening
Yes, you are awakening
As the dawning breaks
And you feel your spirit awake
As the walls come down
You rewrite your story
It's a brand new day
And the grace is flowing your way
As your heart comes free
You rewrite your story
All you know
Must let go
For you are awakening
Yes, you are awakening
So let go
Spirit flow
You are awakening
Yes, you are awakening
By the time you wake
And discover all your mistakes
It’s the time it takes
To rewrite your story
By the light of truth
And the joy you felt in your youth
As your heart breaks free
You rewrite your story
So let go
Spirit flow
You are awakening
Yes, you are awakening
Of course, this finished with another ovation.
The surprise, or at least for me, was the presentation of "If Everyone Was Listening”. The atmosphere from the album "Crime of the Century” sailed over the auditorium in a beautiful interpretation, one that was much warmer and closer than the version performed by Ken Scott in 1974.
Aaron McDonald and his sax would begin the third last song of the night. The farewell song from "Famous Last Words”; one which would announce the end of Supertramp, "Don’t Leave me Now”. A calm piano and a soft incorporation of the sax, which would steadily grow stronger, anticipated the powerful entrance of the drums. The whole band joined in the performance with all the details, except one. In the original recording, Hodgson includes a magnificent solo played on an electric guitar; an instrument that the Argentinean audience has never heard him playing live. The sound of the Fender "Stratocaster” was an integral part of Supertramp and it is something that is missed. The sounds, fluid and full of feeling, without an excess of virtuosity (to be more precise, such as can be heard before the end in "Don´t Leave me Now”) or full of enormous enthusiasm and energy (as "In Jeopardy”) fitted into their compositions in such a unique way that, in my case at least, I would love to be able to hear it performed live. When he plays the electric guitar, he evokes passages of sound that complete the "framework” of the song. The last time he appeared in public playing the instrument was on the tour of the "The All Star Band”. It would be lovely to have the chance to listen to it here one day.
After nearly one and a half hours, we were going to have the opportunity to listen to the first song he composed on the electric piano, way before he answered the advertisement which appeared in Melody Maker, "Dreamer”.
The audience clapped to the music, transforming the hit from "Crime of the Century” into a collective hymn.
After several minutes of applause, which seemed would never end, Hodgson moved away from the keyboard and went towards the grand piano, he sat on the stool, he leaned towards the microphone and said,
"I would like to finish with a song that…” he paused for a moment before continuing, as though he was looking for the exact words he needed, "Do you know? For many years I had three parts of a song and, suddenly, one magical day, they became one, which is… "Fool’s Overture”.
With the first notes, the pictures and sounds of Big Ben, the pealing of bells, the atomic bomb and the voice of Sir Winston Churchill entered my mind, as though I was witnessing the legendary concerts of Munich or Toronto, watching the huge video screen. The climax and the depth of the interpretation created some of the best highlights of the concert. A wonderful finale for an unforgettable evening.
The concert was drawing to an end. The lights came on, completely illuminating a theatre that was overflowing with emotion. The members of the band left their instruments; they stood in the centre of the stage and waved to the audience with their arms held high. Hodgson turned his head towards the musicians, pointing to the auditorium as if he was saying, "Can you believe it?” The show that was coming from the theatre seats was amazing. "Oh-ohoh-oh-oh, Oh-ohoh-oh-oh”, bellowed the audience again and again, not allowing anybody to leave the stage.
It was time to present the performers, one by one, but for some reason Hodgson decided to omit this part. He only said, "This is my new band, a very good band” and then he drank some water before continuing,
"You know... I love coming to Argentina, so maybe this means we will have to return next year”.
The audience burst with happiness and stood up to applaud, whilst the musicians returned to their dressing rooms.
But the curtain calls were still missing. When Hodgson came back onto the stage, he announced a song which he said had never been sung here, "Lady”. His memory failed him; "Lady” was performed in each one of the concerts that took place in 1998, although in a different format. It was amazing to be able to listen to it again with all the studio arrangements. It was at that moment I realised that several "effects” in the song are actually produced by the mouth. The audience accompanied the performance with a mass snapping of fingers.
As a farewell, "It´s Raining Again” unleashed a party. The audience stood up from their seats and many people moved into the aisles to dance and jump around in a collective celebration. Some of the members of the staff who work with Hodgson moved around the theatre with camcorders, recording all that was taking place in the stalls. Does this mean there will be a new DVD?... Who knows? At least the audio of this concert was recorded on a console and it is probable that the recordings are included in a CD recorded live.
Not one person in the theatre wanted to leave. Everyone, standing up and waving their arms, was asking for one more song. The strumming of a guitar was instantly acknowledged and "Give a Little Bit” was the present that had been chosen to end the evening. Hodgson’s voice, his presence and energy still remain as intact as they were during his earlier years and he gave the best of himself in a superb performance, which was transformed at the peak of the show.
This was how Roger Hodgson ended his best ever performance in Argentina, in a show that will be impossible to surpass in terms of emotion and intensity, dramatic quality and happiness.
From now on, we will have to wait what happens in his role as a composer. He has written more than fifty compositions ("Hum Hum”, "Low Dance” or "Sad Boy”, to name only a few) which are waiting to see the light of day. It is worth asking ourselves what would happen if a first class producer (as in the case of Nigel Godrich with Paul McCartney, or Brian Eno with Coldplay) provided him with the motivation to extend his limits. Of course I am not talking about the search for commercial success, but the opportunity to record his new compositions with the best artistic means possible. Many of these songs, which are still hidden away, are waiting to be transformed into new classics.
Meanwhile, the audience in our country is desperately hoping he remembers what he announced: that he would return next year.
The Set List was the following:
Take the Long Way Home
School
Hide in your Shell
Lovers in the wind
Soapbox Opera
Easy Does It
Sister Moonshine
Breakfast in America
Along Came Mary
The Logical Song
Lord is it Mine
Child of Vision
The Awakening
If Everyone was Listening
Don't Leave Me Now
Dreamer
Fool’s Overture
******
Lady
It's Raining Again
******
Give a Little Bit
By Walter Alarcón
English translation by Helena Chavarría
Photos: Natalia Luján
Thanks to Abel Fuentes and The Logical Web
Fifteen months after his first presentation in Corrientes Street, Roger Hodgson returned to the Gran Rex and offered us what can undoubtedly be considered to be his best concert in Argentina.
Counting this one, this was Roger’s third visit to our country. Even today, we remember the five recitals he offered in 1998 in the Coliseo Theatre, and the wonderful concert that took place in February of last year, after a wait of nearly eleven years to see him fulfil his promise to return.
The performances in the Coliseo have been branded on the collective memory of the local audience, due to the fact they were concerts of mutual discovery. Hodgson was returning to the stage after decades of absence and he was presenting "Rites of Passage”, the album that gave him back his tours and which enabled him to debut in our country. For the first time, the Argentinean audience was going to be able to watch an artiste for whom they had been waiting for over twenty years.
The sensations of that period, a surprise for Hodgson who had been greeted by an audience which he had possibly not expected, and which had displayed emotion, fervour, and tears that were captured by "Puerta V”, the television programme that circulates amongst our fans like a document of cult.
For all these reasons, it would not be an easy task to reach the summit of musical intensity and perfection of these two visits. Needless to say, the concert that took place in the Gran Rex on 11 May surpassed our expectations.
This time, with respect to last year, the local producer improved their bet. There was graphic advertising on the streets, advertisements on television and several radio interviews (some of which can be listened to here) that ensured greater publicity. Many of the people who came to the Gran Rex had made the journey from bounder countries (Chile, Uruguay) or from provinces as far away as Catamarca, Río Negro or Misiones, among others.
Thanks to the internet, great expectations had been generated. Social networks, blogs, mail threads and websites from very many countries were following this performance with special interest and were providing updated information by the minute.
In the early afternoon of Tuesday 11, a crowd of fans was waiting outside the doors of the theatre.
Among them, there were not only Hodgson fans, but also fans of Genesis, Yes and Pink Floyd, who were keen on seeing the author of key pieces of symphonic rock.
The nervousness could be felt everywhere. The doors of the Gran Rex, which is one of the most important theatres in Buenos Aires, opened two hours before the performance. The auditorium filled in just over an hour and after listening to the support band (about which, I am very sorry to say, I have no information) the level of expectation and nervousness increased. Hands began to clap and Roger’s name began to be chanted by an impatient audience.
A new band had been specially created for the South American concerts. For those who did not realise it, it is necessary to mention that the musicians who appeared in the programme were not the same people who were on the stage. With regards to last year’s formation, only the multi-musician who accompanies Roger on his acoustic tours, Aaron McDonald, was present.
At exactly 9.30 p.m., the first notes of "Take the Long Way Home” opened the concert and Aaron McDonald’s harmonica gave way to Hodgson’s wonderful voice. The singer sung the first verses and from this moment onwards the audience roared. Three thousand people rose to their feet to applaud his return. The interpretation was intense and magnificent and culminated in a standing ovation. The stage lights lit up with a white light, they rotated from the stage towards the balconies and stalls and they threw light onto a fervent multitude.
This time, a deafening song burst from the theatre seats towards the stage. "Oh-ohoh-oh-oh, Oh-ohoh-oh-oh” was the clamour from the multitude. For the benefit of those people who do not know the melody (or for those who are too young to know it) it originates from "Rain Dance”, the song that is sung at the Woodstock festival, an emblem of the hippy movement of the 60s and the highest level of excellence acknowledged by the local public. Roger stood up, he took hold of his acoustic guitar and he went towards the centre of the stage to present himself to the audience.
"Ole, Ole, Ole Roger… Roger, Roger…” was the deafening chorus that thundered around the theatre and which stopped him from talking.
"Good evening. How are you?” he finally managed to say in perfect Spanish, before continuing in English, "It is so nice to be back in Argentina. How are you my friends? I’m very happy to be here tonight”.
It was obvious to see that he was feeling as emotional as us. He shivered, his shoulders shuddering, as though he was suddenly feeling cold, before exclaiming,
"It´s so good to see you, I love Argentina” just before he presented a classic of classics.
He strummed the first chords on his guitar to introduce "School”.
The new rhythmical base, Bryan Head on the drums and Ian Stewart on the bass guitar, provided a compact sound. Both musicians added a vital beat to the songs, resulting in a strong and enveloping sound. Throughout the quiet passages, they provided all the details and subtleties of the original recordings.
The new arrival on the keyboards, Kevin Adamson, who was placed on the left of the stage, behind Hodgson, performed the "School” solo impeccably. It could be said that maybe there was a lack of volume, or that was the impression that was received from the centre of the stalls.
"I know this song has helped many people in difficult moments” mentioned Hodgson before presenting one of my most favourite songs, "Hide in your Shell”, a gem of symphonic rock.
When I observed the audience around me, I was met by a touching scene. Everyone seemed immersed within a whirlwind of emotions. Silence and beauty throughout the performance, applause after the final verse, until the palms of our hands were worn out. At one moment, I turned my head and I saw the balconies above and it seemed as though the whole theatre was going to collapse. Cries, happiness and emotion were flowing out from several generations of listeners. Parents and their children, even whole families, were listening to the music that had accompanied them throughout their lives, live on stage.
A few moments later, Hodgson seated himself in front of the grand piano, he asked for everyone to be quiet and before performing the next song, he said, "The most important thing in life is love”. Then "Lovers in the Wind”, the touching ballad from "In the Eye of the Storm”, his first album as a soloist, emerged from the loud speakers. His voice, despite the exhausting tours around the world, remains intact as one of the most memorable voices of the great rock bands.
One of the songs I prefer to hear live, rather than the recorded studio version, is "Soapbox Opera” and that was what came next. A chorus of angels preceded the soft notes that come from the piano, which cause one to tremble when they are heard. The version sounded very similar to that included in "Paris” and this can only prove the merit of a newly-formed band. The group was perfect and we should take into account that for this band, which had been formed especially for Argentina, it was the first time they were playing with Hodgson in front of a huge audience.
The initial whistling of the warm "Easy Does It” led us to the most intimate moment of communion of the performance. All of us tried our best not to whistle out of tune, and the whistling from the whole audience created the same magic that this song produces in the rest of the world.
The next songs were "Sister Moonshine” and "Breakfast in America”, the latter with an additional coda, which caused enormous enthusiasm amongst the audience. So much so, that before presenting the next song, "Along Came Mary”, Hodgson, who was visibly moved, said,
"I think I’m going to take you all with me on tour”... which caused great emotion among the audience.
It can possibly be said that from amongst all his compositions, the greatest conjunction between lyrics and music is "The Logical Song”. Before performing it, he explained something about its history,
"When I was at school, they told me that there I would be able to learn everything; but when I finished, I realised that I still didn’t know who I was... ”
His hands struck the keyboard and the band sounded out at full force in a performance charged with energy. Aaron Mc Donald was marvellous. His sax solo ended with roaring applause which spontaneously interrupted the song before it ended. Each and every one of McDonald’s performances, whether they had been offered on saxes, clarinets, keyboards, flute or the rest of the instruments he played, were charged with energy, feelings and precision.
The grand piano was the protagonist of the most personal track from the album "Breakfast in America”; "Lord is it Mine” was presented by Hodgson as his favourite song. The performance, as lately seems to be the case, sounded slightly faster than the original version.
There was something in Hodgson, maybe a spiritual connection that had been established with the audience, which provided a unique sensation of peace and comfort. It was an experience that was outside sensorial limits, which inundated the mind and the soul like a balsam.
Next followed a song that would test the set up and the dynamics of the band, "Child of Vision”. The well-known keyboard introduction fully anticipated the rhythmical base. The drummer went to town on the drums and cymbals, in perfect synchronisation with the bass guitar and together they established the space for the dialogue that took place between the keyboards. The voices perfectly complemented the verses which make up the vocal duel, to end with the stupendous piano solo played by Kevin Adamson. It was undoubtedly a brilliant interpretation.
The material from the soloist albums was scarce. Only the two that have already been mentioned: "Lovers in the wind” from "In the Eye of the Storm” and "Along Came Mary” from "Open the Door”. It was a shame not to be able to listen to "Puppet Dance”, which was a radio hit here, or "In Jeopardy”, which the audience asked for over and over again.
Nonetheless, in what was going to be the first time for us in this country was the opportunity to listen to "The Awakening”. Roger presented the song and he explained that it spoke of the forgiveness of others and, possibly the most difficult thing of all, the forgiveness of ourselves. The lights blacked out, the halo produced by a spotlight descended down towards him, and the full and crystalline sound of the 12-string acoustic guitar filled the theatre. These are the lyrics of the song:
By the time you wake
And forgive yourself your mistakes
It’s the time it takes
To rewrite your story
By the light of truth
And the passion you felt in your youth
As your heart breaks free
You rewrite your story
So let go
Spirit flow
You are awakening
Yes, you are awakening
As the dawning breaks
And you feel your spirit awake
As the walls come down
You rewrite your story
It's a brand new day
And the grace is flowing your way
As your heart comes free
You rewrite your story
All you know
Must let go
For you are awakening
Yes, you are awakening
So let go
Spirit flow
You are awakening
Yes, you are awakening
By the time you wake
And discover all your mistakes
It’s the time it takes
To rewrite your story
By the light of truth
And the joy you felt in your youth
As your heart breaks free
You rewrite your story
So let go
Spirit flow
You are awakening
Yes, you are awakening
Of course, this finished with another ovation.
The surprise, or at least for me, was the presentation of "If Everyone Was Listening”. The atmosphere from the album "Crime of the Century” sailed over the auditorium in a beautiful interpretation, one that was much warmer and closer than the version performed by Ken Scott in 1974.
Aaron McDonald and his sax would begin the third last song of the night. The farewell song from "Famous Last Words”; one which would announce the end of Supertramp, "Don’t Leave me Now”. A calm piano and a soft incorporation of the sax, which would steadily grow stronger, anticipated the powerful entrance of the drums. The whole band joined in the performance with all the details, except one. In the original recording, Hodgson includes a magnificent solo played on an electric guitar; an instrument that the Argentinean audience has never heard him playing live. The sound of the Fender "Stratocaster” was an integral part of Supertramp and it is something that is missed. The sounds, fluid and full of feeling, without an excess of virtuosity (to be more precise, such as can be heard before the end in "Don´t Leave me Now”) or full of enormous enthusiasm and energy (as "In Jeopardy”) fitted into their compositions in such a unique way that, in my case at least, I would love to be able to hear it performed live. When he plays the electric guitar, he evokes passages of sound that complete the "framework” of the song. The last time he appeared in public playing the instrument was on the tour of the "The All Star Band”. It would be lovely to have the chance to listen to it here one day.
After nearly one and a half hours, we were going to have the opportunity to listen to the first song he composed on the electric piano, way before he answered the advertisement which appeared in Melody Maker, "Dreamer”.
The audience clapped to the music, transforming the hit from "Crime of the Century” into a collective hymn.
After several minutes of applause, which seemed would never end, Hodgson moved away from the keyboard and went towards the grand piano, he sat on the stool, he leaned towards the microphone and said,
"I would like to finish with a song that…” he paused for a moment before continuing, as though he was looking for the exact words he needed, "Do you know? For many years I had three parts of a song and, suddenly, one magical day, they became one, which is… "Fool’s Overture”.
With the first notes, the pictures and sounds of Big Ben, the pealing of bells, the atomic bomb and the voice of Sir Winston Churchill entered my mind, as though I was witnessing the legendary concerts of Munich or Toronto, watching the huge video screen. The climax and the depth of the interpretation created some of the best highlights of the concert. A wonderful finale for an unforgettable evening.
The concert was drawing to an end. The lights came on, completely illuminating a theatre that was overflowing with emotion. The members of the band left their instruments; they stood in the centre of the stage and waved to the audience with their arms held high. Hodgson turned his head towards the musicians, pointing to the auditorium as if he was saying, "Can you believe it?” The show that was coming from the theatre seats was amazing. "Oh-ohoh-oh-oh, Oh-ohoh-oh-oh”, bellowed the audience again and again, not allowing anybody to leave the stage.
It was time to present the performers, one by one, but for some reason Hodgson decided to omit this part. He only said, "This is my new band, a very good band” and then he drank some water before continuing,
"You know... I love coming to Argentina, so maybe this means we will have to return next year”.
The audience burst with happiness and stood up to applaud, whilst the musicians returned to their dressing rooms.
But the curtain calls were still missing. When Hodgson came back onto the stage, he announced a song which he said had never been sung here, "Lady”. His memory failed him; "Lady” was performed in each one of the concerts that took place in 1998, although in a different format. It was amazing to be able to listen to it again with all the studio arrangements. It was at that moment I realised that several "effects” in the song are actually produced by the mouth. The audience accompanied the performance with a mass snapping of fingers.
As a farewell, "It´s Raining Again” unleashed a party. The audience stood up from their seats and many people moved into the aisles to dance and jump around in a collective celebration. Some of the members of the staff who work with Hodgson moved around the theatre with camcorders, recording all that was taking place in the stalls. Does this mean there will be a new DVD?... Who knows? At least the audio of this concert was recorded on a console and it is probable that the recordings are included in a CD recorded live.
Not one person in the theatre wanted to leave. Everyone, standing up and waving their arms, was asking for one more song. The strumming of a guitar was instantly acknowledged and "Give a Little Bit” was the present that had been chosen to end the evening. Hodgson’s voice, his presence and energy still remain as intact as they were during his earlier years and he gave the best of himself in a superb performance, which was transformed at the peak of the show.
This was how Roger Hodgson ended his best ever performance in Argentina, in a show that will be impossible to surpass in terms of emotion and intensity, dramatic quality and happiness.
From now on, we will have to wait what happens in his role as a composer. He has written more than fifty compositions ("Hum Hum”, "Low Dance” or "Sad Boy”, to name only a few) which are waiting to see the light of day. It is worth asking ourselves what would happen if a first class producer (as in the case of Nigel Godrich with Paul McCartney, or Brian Eno with Coldplay) provided him with the motivation to extend his limits. Of course I am not talking about the search for commercial success, but the opportunity to record his new compositions with the best artistic means possible. Many of these songs, which are still hidden away, are waiting to be transformed into new classics.
Meanwhile, the audience in our country is desperately hoping he remembers what he announced: that he would return next year.
The Set List was the following:
Take the Long Way Home
School
Hide in your Shell
Lovers in the wind
Soapbox Opera
Easy Does It
Sister Moonshine
Breakfast in America
Along Came Mary
The Logical Song
Lord is it Mine
Child of Vision
The Awakening
If Everyone was Listening
Don't Leave Me Now
Dreamer
Fool’s Overture
******
Lady
It's Raining Again
******
Give a Little Bit
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