To mark the release of the video "Crime of the Century - Hammersmith Odeon 1975", Gonzalo Carrera interviewed the legendary Supertramp saxophonist for the well-known English music magazine.
QUESTION: Over the past year, there have been several high-quality reissues of Supertramp’s catalogue, culminating in the release of the “Crime of the Century - Hammersmith Odeon 1975” concert. What prompted the decision to release this live performance after so many years, and how did the project come together?
JOHN: The idea came from Supertramp’s ex-manager, Dave Margereson (1945-2025). After the release of the “Paris” DVD had done so well, Dave pushed Mercury, the producers, and organised a re-mix of the sound track by Ken Scott, the original sound engineer.
QUESTION: The Hammersmith concert marked the final UK date before touring North America. How long did you rehearse for the tour, and was there a designated musical director, or was leadership shared across the band?
JOHN: Our approach was very democratic: the whole band arranged the music, and the band plus Russel Pope, our sixth member, and our lighting team, Tony Shepherd and Ken Allardyce, arranged the show. We were one big family along with our manager, Dave.
QUESTION: At that stage in your career, did you anticipate the band’s subsequent rise to global success and the lasting legacy established with “Breakfast in America”?
JOHN: We had no idea of our future achievements. Our next step was to try to have some success in The USA, so we had a tour there and afterwards we settled in Los Angeles, where the record company, A&M were based.
QUESTION: The setlist included “Crime of the Century” in full, preview material from “Crisis? What Crisis?”, and a unique rendition of “A, You’re Adorable”. How did the idea for incorporating this jazz standard arise, and did it feature in future performances?
JOHN: When I started piano lessons at the age of nine in 1954, my cousin Barry gave me the sheet music to “A, You’re Adorable”. I couldn’t play it at the time, and I still can’t! I just fumbled my way through it in 1975 for a bit of light relief.
QUESTION: The live performance demonstrated remarkable fidelity to the studio recordings without reliance on backing tracks. What are your views on modern live performance practices within today’s music industry?
JOHN: Well, it’s less ‘real’ nowadays. Back in the 70s you really had to work hard to produce, and reproduce music, especially in a live situation. It’s much easier now - too easy perhaps?
QUESTION: How influential was your former manager, Dave Margereson, particularly during the band’s peak years and in the context of these recent reissues?
JOHN: Dave was absolutely behind these releases and pushed the record company hard. He was very enthusiastic to the end.
QUESTION: To what extent did key touring personnel - such as Russel Pope, Tony Shepherd, and Ian Lloyd Bisley- contribute to the band’s live sound and stage production? Additionally, how did the concept of incorporating visual backdrops evolve?
JOHN: Russel Pope was the ‘sixth’ member of Supertramp - he helped the songwriters, created the live sound, co-produced in the studio, etc. Tony Shepherd created and produced the light show. Ian Lloyd-Bisley was the monitor engineer - a very important post. We wanted to illustrate aspects of our songs on stage, so we used a few crucial little films. We also had the idea of the concert sound being like a giant Hi-Fi, and we constantly upgraded the PA system to that effect.
QUESTION: What are your strongest memories from the early concerts promoting “Crime of the Century”?
JOHN: We decided to never be a supporting group and to make it theatrically intense with all black drapes.
QUESTION: It has been suggested that “Crime of the Century” was recorded without the use of click tracks. Can you confirm this, and do you feel this contributed to its distinctive, organic sound?
JOHN: Working with Ken was a revelation. He had so many good and innovative ideas. No click tracks were used - it’s just real music!
QUESTION: During the “Crime of the Century” tour, the band experienced a breakthrough following changes in lineup and management. To what extent do you attribute this success to those changes, and how was the tour received, particularly in London?
JOHN: The new line-up changed the music. The new engineer’s input was revolutionary. The new management was successful. We improved our performances during the tour, and it shows on the Hammersmith film - we enthusiastically projected youthful vigour.
QUESTION: Who were the backing vocalists featured on “Hide in Your Shell” during the Hammersmith concert?
JOHN: It’s a secret! (sometimes road crew, sometimes friends and/or famous musicians)
QUESTION: Following the recent passing of key figures such as Dave Margereson and Rick Davies, do you view the Hammersmith release as a tribute to their legacy?
JOHN: Rick - our founder. Dave - our manager. It would have been impossible to do the gig without them. They deserve every credit!
QUESTION: Could you clarify the current structure of the Supertramp partnership? Is it formed of John Helliwell, Dougie Thomson and Bob Siebenberg?
JOHN: Yes.
QUESTION: Are the three of you still in contact with Roger Hodgson?
JOHN: Roger has ceased to communicate with anyone recently. I think that he is somewhere in Florida with “The Heaven on Earth Ministries of Jesus Christ Inc”.
QUESTION: Fans often ask about the possibility of a reunion - how do you respond to the question “will there ever be a Supertramp reunión”?
JOHN: No.
QUESTION: Reflecting on the formation of the classic lineup, did you sense early on that the band was going to achieve something exceptional?
JOHN: I went to a rehearsal / audition on July 19th, 1973, and I was so impressed with musicians and the songs (especially “From Now On”) that I stuck around. I didn’t know how big we would get, but I knew that the music was very special.
QUESTION: Looking back, are there any decisions or moments in the band’s history that you would approach differently?
JOHN: No, it all was inevitable.
QUESTION: What were some of the most memorable—both positive and challenging—moments from that first major tour?
JOHN: I can’t remember - it was 51 years ago!
QUESTION: The material from “Crime of the Century” and “Crisis? What Crisis?” still sounds fresh and innovative. What were the key musical influences of each band member during that period?
JOHN: Rick and I came from being inspired by jazz, Roger and Dougie’s were quite Beatles influenced, Bob grew up with Californian surf music. We all liked groups like Traffic, Spooky Tooth, Pink Floyd. My heroes on saxophone were Cannonball Adderley and Sonny Rollins.
QUESTION: Is it correct that the band did not perform encores during that tour, instead presenting a continuous set?
JOHN: We did perform without encores, but we succumbed eventually to crowd pressure and just kept our last number, “Crime of the Century” as the encore!
QUESTION: Which songs proved most challenging to perform live, either technically or in terms of concentration?
JOHN: “From Now On” and “Crime Of The Century”.
QUESTION: Are there plans for further reissues, remixes, or releases of previously unreleased Supertramp material?
JOHN: There might be official releases of live performances from our 1983 tour such as Munich and Toronto. Most of the albums have now been released in half-speed mastered LP format under the direction of the original engineers - Ken Scott and Peter Henderson.
QUESTION: With most songs written by Rick Davies and Roger Hodgson, how were compositions introduced to the band, and how did the wider group contribute to arrangements and development?
JOHN: Rick and Roger brought their songs to the group and then everyone in the group would be freely involved in the arrangements.
QUESTION: Finally, are you currently engaged in any musical projects outside Supertramp, and are you aware of the band’s enduring influence on younger artists?
JOHN: It’s been a great honour to have been an inspiration for young musicians. My current projects are: The Super Big Tramp Band - a 19-piece jazz band that plays only Supertramp tunes instrumentally; and Ever Open Door - saxophone, Hammond organ, and string quartet.
Gonzalo Carrera, posing with John Helliwell.
Cover of "Crime of the Century - Hammersmith Odeon 1975" Blu-ray.
Dougie Thomson, John Helliwell and Ken Scott, in a recent photo.
