{"id":21779,"date":"2007-10-17T16:00:00","date_gmt":"2007-10-17T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/school-supertramp-a-playground-scream-then-ken-scott\/"},"modified":"2026-09-27T03:10:54","modified_gmt":"2026-09-27T01:10:54","slug":"school-supertramp-a-playground-scream-then-ken-scott","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/school-supertramp-a-playground-scream-then-ken-scott\/","title":{"rendered":"School – Supertramp: un grito en el patio, luego Ken Scott"},"content":{"rendered":"

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El grito es la escuela, luego entra la banda<\/h3>\n

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Antes de la banda se oyen ni\u00f1os. School<\/em> abre Crime of the Century<\/em> con un patio, luego un grito, luego la arm\u00f3nica de Rick Davies. Roger Hodgson ha dicho que el grito no es solo un efecto. La escuela puede ser un buen sitio. El grito representa m\u00e1s que el patio. No hace mucho que sali\u00f3 del internado cuando la escribe. Ha llamado a la canci\u00f3n b\u00e1sicamente suya, y tambi\u00e9n ha sido claro: Davies escribi\u00f3 el solo de piano y una buena parte de la letra. La funda imprime igual los dos nombres. Esa ya era la regla.<\/p>\n

Supertramp lleva el tema a los estudios Trident, en Wardour Street, en febrero de 1974. Ken Scott, ingeniero de los Beatles y productor de David Bowie, hab\u00eda rechazado las maquetas hasta ver tocar a la banda. A&M y el t\u00e9cnico de sonido Russell Pope insisten. Scott acepta despu\u00e9s de verlos tocar, y luego se toma el tiempo que el sello aguanta. Las sesiones llegan hasta junio, tambi\u00e9n en Ramport, el estudio de los Who, con la mezcla en Scorpio Sound. Bob Siebenberg recuerda semanas en el sonido de bater\u00eda antes de las bases. John Helliwell recuerda a Jerry Moss, de A&M, que entra cuando el presupuesto asusta, oye lo que hay y les deja seguir. A&M publica Crime of the Century<\/em> en 1974. Es el primer \u00e1lbum de la formaci\u00f3n que va a durar: Hodgson, Davies, Helliwell, Dougie Thomson y Siebenberg.<\/p>\n

La voz de Hodgson es el chico al que le hablan. No olvides los libros. S\u00e9 como Johnnie Too Good, que nunca se escaquea. Despu\u00e9s del colegio, no te quedes fuera. No hagas esto y no hagas aquello. Las preguntas de la letra son directas: qu\u00e9 intentan hacer, \u00bfun buen chico de ti? La arm\u00f3nica de Davies, el mismo instrumento que abrir\u00e1 Take the Long Way Home<\/em> cinco a\u00f1os despu\u00e9s, ya es la manera de la banda de empezar una discusi\u00f3n sin un discurso. Los vientos de Helliwell colorean los bordes. La mezcla de Scott deja el patio en la imagen en vez de borrarlo para una intro de rock limpia. Luego entra la banda, y la canci\u00f3n deja de ser un sketch.<\/p>\n

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\n

Todo, sobre todo ese grito justo antes de que entre la banda, representa mucho. La escuela es un sitio estupendo. Obviamente es un patio, pero ese grito representa mucho m\u00e1s.<\/p>\n<\/blockquote>\n

(Roger Hodgson)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb21774″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1700021774{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

School<\/em> no es el sencillo que lleva el \u00e1lbum en Gran Breta\u00f1a. Lo es Dreamer<\/em>. En Estados Unidos, el empuj\u00f3n es para Bloody Well Right<\/em>. El disco hace el trabajo grande. Despu\u00e9s de dos \u00e1lbumes que no hab\u00edan cuajado, Crime of the Century<\/em> entra en el top 5 en Gran Breta\u00f1a, Canad\u00e1 y Alemania, y fija el sonido que la gente oye cuando dice Supertramp: piano, saxo, armon\u00edas y una letra que insiste con las instituciones. Las canciones de colegio de Hodgson no se acaban aqu\u00ed. The Logical Song<\/em>, cinco a\u00f1os despu\u00e9s, le hace al mismo edificio una pregunta m\u00e1s pulida. School<\/em> es el borrador m\u00e1s \u00e1spero, y gana con eso. Todav\u00eda se oye el patio.<\/p>\n

La arm\u00f3nica de Davies vuelve, breve, al final del tema que da t\u00edtulo al disco, para que el patio y el \u00abcrimen\u00bb queden en el mismo c\u00edrculo. Eso era Scott y la banda pensando en caras de \u00e1lbum, no en sencillos. Si entras en Supertramp antes de Breakfast in America<\/em>, empieza por esta apertura. Los ni\u00f1os son cinta de verdad. El grito es una decisi\u00f3n. Luego la arm\u00f3nica, la voz de Hodgson, y un grupo al que por fin le dieron las semanas para dejar bien el sonido de la bater\u00eda.<\/p>\n

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School abre Crime of the Century con una cinta de patio, un grito y la arm\u00f3nica de Rick Davies, grabada en Trident en 1974 con Ken Scott.<\/p>\n","protected":false},"author":1,"featured_media":21771,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[305,273,299,278],"tags":[481,255,772,774],"class_list":["post-21779","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-canciones","category-chronicles","category-criticas","category-tracks","tag-classic-rock-es","tag-classic-rock","tag-supertramp","tag-supertramp-es"],"yoast_head":"\nSchool - Supertramp: un grito en el patio, luego Ken Scott - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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