Country of Origin: UK Format: CD Record Label: A & M Records Catalogue #: 395 004-2 Year of Release: 1984 Time: 47:25 Info: Homepage Samples: Click here

In Jeopardy seems to be the one track from Roger Hodgson's solo past that he can still associate himself with musically, being the only one he proposed from his repertoire on the live 'Rites Of Passage'. Musically it consists of a repetitive hook with a very slight variation introduced each time, something he would repeat on further albums (e.g. Open The Door) as well as later on in this album (I'm Not Afraid). Hodgson's characteristic staccato style of piano playing is present throughout the track and though upbeat (upbeat in musical terms, not lyrically!) the closing notes shift the tone to one of sadness, a prelude to Lovers In The Wind.

Lovers In the Wind is the first ballad on the album and one of the highlights present. Jimmy Johnson's fretless bass playing creates a lovely effect coupled with Roger Hodgson's fluid piano that plays in unison with his voice. The serious nature of the album stands out on this track. The air is heavy with even the chorus leaving the listener with a heavy heart, half-hoping the track to explode with a shift in beat, yet this never materializes. This track is like one of those films that has a sad ending which can be changed at any moment by a slight change in plot and you leave the cinema with a somewhat bitter taste hoping that the change could have occurred yet deep down know that its very absence contributed to the excellence of the film. The same can be said about this track as it's tragic sadness with absence of any light-heartedness contributes to it being a classic sad song.
Hooked On A Problem and sees the return of the typical Roger Hodgson sing along track with ear friendly catchy chorus coupled with Scott Page's saxophone playing. A great and "happy" way to close the first side of the album (vinyl version!)

Give Me Love, Give Me Life is in my opinion the epic track of the album and possibly one of Roger Hodgson's most complex creations, a track that can be subdivided into various segments. The opening part could very well stand out on its own as a classic Hodgson track with its clever ear-friendly hooks together with a moving beat that really gets the listener thumping his foot away. Hodgson sounds at his very best as the track moves from chorus to chorus to suddenly shift key and also melody completely, sounding like a completely different track. This change is brought about by the hail of a crowd which seems to spur on Hodgson as the track increases both in volume and in musical terms. This piece coupled with the keyboards solo, which is a reflection of what is being said, is interrupted by Hodgson's wail which kick starts the original chorus. Just when this track seems to be going on relentlessly without an end in sight, Roger Hodgson screams out "Give Me Life!"...and it all end there!

As happened with In Jeopardy, I'm Not Afraid features the repetitive sequence that Roger Hodgson so likes to use. This however arrives in the second part of the track as it stats with a slow dragging almost bluesy piece. The second section of the track starts just after Ken Allardyce's harmonica solo and is in stark contrast to the first part. That rough tough music suddenly shifts to a soft spoken almost pleading section which gradually picks up as Hodgson seemingly conquers his fears. An original track showing two facets to Hodgson's music yet on the other hand it remains one of the weaker tracks on the album saved only by the upbeat nature of the end section. This part utilizes Roger Hodgson's voice as an instrument as he sings without mouthing words creating an impressive atmosphere.

Only Because Of You has a long slow introduction which immediately puts the listener into perspective as to what to expect from this track. Once again Hodgson presents us with a slow piece of music but this is a gem of a song. As his piano gives away the gist of the track, Roger Hodgson joins in with his characteristic voice which seems to be tailor made for such songs. The entry of drums only serves to add as a beat as a choir of Hodgson voices create a wave effect that carries the listener through the track with the addition of Claire Diament's angelic voice further augmenting this effect. It is incredible how a voice can communicate emotions even without the use of lyrics. Simply a fantastic way to conclude this album.

After this album, I always thought the Roger Hodgson would go on to conquer the musical world, much like he had done with Supertramp. However, unfortunately, history was to prove me wrong!

Conclusion: 8 out of 10.

Country of Origin: UK Format: CD Record Label: A & M Records Catalogue #: 395 112-2 Year of Release: 1987 Time: 48:56 Info: Homepage Samples: Click Here

What should one expect when an album is criticized by the same person that wrote the album? In actual fact, Hai Hai is not as poor as some people would like to think and though criticism leveled at this album is in areas true, it is also true that there are certain areas of the album which do shine.

Originally the album was to be titled 'What Happened With The Empire?' (a lyric from the albums London track). However due to the duration taken to finish the album (16 months) as well as some difficult personal periods in his life, Roger Hodgson's (RH) reaction was to change the name of the album to a more optimistic sounding Hai Hai (Yes Yes in Japanese) as a sign of relief for having concluded the album. One of the possible reasons that might have caused the album to end up as a disappointment to RH was the fact that when compared to his first album (and also Supertramp albums) there was a large number of personnel involved, maybe a case of too many cooks spoil the broth.

The album opens with Right Place and a characteristic harmonica introduction, a track that also paves the way for the majority of the tracks on the album. Upbeat and optimistic the track shows that this time round there is less of the complex musical structuring that made up the first album with an emphasis being placed on a catchy beat as well as being ear-friendly.

My Magazine is next, a track which RH admitted as to being his favorite to record, mainly because it was the first time he got to scream on a record! Interestingly, three of the backing musicians are also members of one of the most famous band composed of seasoned session musicians, Toto. Jeff Porcaro plays drums together with David Paich (synth bass, hammond organ, synth brass) and Steve Porcaro (synth programming). Actually there is a Toto feel to this track as the guitar seems to have more of a rockier edge than is usually associated with RH's usual sound but tends to fall flat due to its repetitiveness.

London has RH written all over it especially as regards the way the lyrics and track are structured. It seems that RH loves to utilize lyrics that are seemingly repetitive with a slight variation occurring with each stanza. A similar case in point would be In Jeopardy or more recently Open The Door. The track still retains that element of optimism when one hears it for the first time, yet on closer inspection there is an air of sadness as well as homesickness from RH as he laments his separation from his home country, England. In fact he would spend something close to seventeen years away from England before playing there again. A spectacle I was lucky enough to witness as he played a surprise short set together with Fairport Convention at the Cropredy Festival, a set which included some well known Supertramp numbers as well as a solo version of Open The Door.

You Make Me Love You was actually written after the album was completed and RH was playing it on his Casio. People who overheard this track immediately told RH to put down the track on his new album, a suggestion to which he complied. In actual fact it is one of the few tracks which show traces of Supertramp and is also one of the finer tracks on the album. Interestingly, unlike most of the other tracks, a plausible reason for this track sounding so great is the fact that RH played practically all the instruments for this recording!

The title track Hai Hai shows RH's attempt in shifting his musical style as he tried to do on this album. Actually this is the track that least does it for me on the whole album. The sound is too artificial which does not allow the track to strike home, something which I feel is essential when one considers RH's soulful pleading voice. Yet again, these were the eighties, a time when everybody experimented with synths and effects!

Who's Afraid is written about the mysticism of the East, both in terms of religion (Churches facing East) as well as geographically (East India and the wisdom associated with it). Once again, a track which could have sounded so much better unfortunately is ruined by the various styles that are brought in from the almost funky guitar of Dan Huff to the basic drum beat that pervades the whole track. This track has not got better with time, in fact it does not even withstand the test of time!

Desert Love has RH doing most of the work on the track, and by God it shows. This is the RH one goes out to buy an album for. The track has two distinctive phases. Firstly there is the individual stanzas which are plain, yet direct and straight to the point whilst on the other we have the reflective chorus during which everything seems to stop in an aura of ambience created both by RH's haunting voice as well as synths.

Land Ho is a curious track as it dates to 1974 and was penned by RH together with Rick Davies, around the time of Supertramp album Crime Of the Ceuntury. Strangely enough this track was left be the wayside and RH felt that it was time to resurrect the track and rightly so. It is one of the bright lights on the album fitting in perfectly with the happy feel on the album coupled with that typical Supertramp touch.

House On The Corner is another great song which shows that RH can couple a good rocking tune together with a delicate melody. Dealing with the hardship that a person who participates in a war involuntarily finds on his return from the war and the inability of those around him to comprehend what is afflicting him. It seems that RH is a master at translating these psychological problems into good music and this counts amongst the better tracks on the album. It is also one of the few tracks that seems to fit in as a continuation from his debut in that stylistically it could have easily fitted on it too.

The album comes to a close with Puppet Dance, a track which deals about losing a loved one and the feelings one experiences when this happens. Somewhat ironically, RH lost his father when he was recording this particular track in the studio, though the track was written before the experience! This is the only track on the album that is played with a sense of melancholy yet this is once again transmitted incredibly well and needless to say it is one of those tracks in which RH seems to have had a say with the majority of instruments down to the backing vocals.

Overall this album is quite pleasant but one expects a certain musical trait from Roger Hodgson which unfortunately is not fully transmitted throughout the whole of the album. There are a number of tracks which fit in tremendously well, but others could have most definitely been left out. As I have maintained throughout, I feel it was a case of too many participants and if the procedure RH followed was similar to his debut, then the final outcome would have been by far better.

Conclusion: 6.5 out of 10.

Country of Origin: UK Format: CD Record Label: Unichord Productions Catalogue #: UNIVP001CD Year of Release: 1997 Time: 62:23 Info: Homepage Samples: Click here

Ten years since his last studio album, it had to be a live album to bring Roger Hodgson's music back to the CD player! Recorded at Miner's Foundry, Nevada City, California, this album was born out of a concept by Karuna Hodgson and was probably the catalyst that has thrust Roger back into the musical limelight.

The backing band on this album were jazz trained pianist Jeff Daniels, session musician and bassist Rich Stanmyre, electronic wizard Mikhail Graham on guitars and backing vocals, RH's sixteen year old son Andrew on drums and special guest ex-Supertramp saxophonist and clarinetist John Helliwell. The album also features guest musicians Terry Riley and Josh Newman, but more about them later!

Showdown is also a track taken from a RH studio album, but this version has appeared three years before the studio version as it would appear on Open The Door. Once again this track is very much in the Supertramp vein with the group complying perfectly with RH. The percussion interlude before the guitar solo is interesting, and again the tightness of the group is impressive.
Don't You Want To Get High? gives the listener a bit of a breather following the rush of the first three songs and one can see where his son Andrew got his cues from for the song Melancholic. Relaxed and laid back, RH's voice fits this style of music to perfection as he drifts through almost as if it was a lullaby.
Then comes Take The Long Way Home followed by another new composition, Red Lake. Well within the same rhythm as previous tracks, this time round the band really rocks and is one of the better upbeat tracks on the album.

Melancholic is the first composition featured on the album that is not a Roger Hodgson composition, though it still remains within the family. Only two musicians participate on this track, Andrew Hodgson, Roger's son, and sixteen year old cellist Josh Newman. As the track implies, it is a melancholic affair with Andrew's vocals subdued and anguished as he plays the piano accompanied by the mournful cello sound. It seems that the melancholy of British bands as Radiohead seem to have caught up with the Hodgson's too!
One of the highlights of the album is Time Waits For No One, not simply because of the uncharacteristic structure that the track has but also because of the guest musician who plays on this particular track. There is a heavy air of ethnicity as the sounds that are played out feature a mixture of ambience as well as Middle Eastern traits. Playing with the group is one of music's living legends, Terry Riley. For those unfamiliar with this person, Terry Riley is considered one of the foremost minimalist composers, a style which he helped develop and which had a profound effect on rock music with a special emphasis on progressive rock. He also spent most of the seventies in India learning under Pandit Pran Nath and he uses that influence to full effect on this track with his playing of the tamboura as well as contributing to some exquisite Middle Eastern styled backing vocals which contrast sharply with Roger Hodgson's delicate voice.

No Colours is the first of two tracks composed by guitarist Mikhail Graham present on the album. Stylistically this track retains a similar trait to what RH has been presenting so far though there is less of that keyboard/piano influence with the musical brunt shifting more towards a guitar orientated piece.
The Logical Song needs no form of introduction as the band play it to perfection while Smelly Feat, another Graham composition seems slightly out of place on this album. Stylistically it has that Southern bluesy rock feel, much in the Little Feat vein (which is where the name of the track is probably derived from).
Closing the album is Give A Little Bit, which as with all the Supertramp numbers is played faithful to the original and is a great closer to this live album.

All in all this album marks a welcome and overdue return to the musical scene by one or rock's most loved vocalists. The tracks are good though I could have done without the tracks composed by others with more space thus dedicated to hearing numbers from Roger Hodgson's vast repertoire. To sum it all up, one can quote Roger Hodgson's final two words at the end of Logical Song, "Bloody Marvelous"!

Conclusion: 7.5 out of 10.