Babaji (song)

"Babaji" is a song by English rock band Supertramp, written by Roger Hodgson and also credited to other band member Rick Davies. First released on their 1977 album Even in the Quietest Moments..., it was subsequently released in Europe and in Australia as the follow-up single to "Give a Little Bit".

"Babaji"
A grand piano partly covered by snow
European single cover
Single by Supertramp
from the album Even in the Quietest Moments...
B-side"From Now On"
Released11 November 1977 [1]
Recorded3 November 1976 [2]
Recording studioCaribou Ranch (Nederland, Colorado)
GenreProgressive rock
Length4:49
LabelA&M
Songwriter(s)Rick Davies, Roger Hodgson
Producer(s)Supertramp
Supertramp singles chronology
"Give a Little Bit"
(1977)		 "Babaji"
(1977)		 "The Logical Song"
(1979)

Lyrics and music

Hodgson wrote "Babaji" in honour of Mahavatar Babaji, whom he regarded as a Christ- or Krishna-like figure, or even a manifestation of the spirit or force of God.[3] According to Supertramp drummer Bob Siebenberg, "Babaji is like Roger's light of life" and "Roger's guiding light sort of guy."[3] The lyrics reflect this in lines such as "All my life I felt that you were listening/Watching for ways to help me stay in tune" and "Babaji, oh won't you come to me/Won't you help me face the music."[4] Music critic Dale Winnitowy described the song's religious content as "George Harrison-like."[5] The lyrics emphasise the need for effort in order to attain enlightenment from the search for Babaji.[6]

Other band members were less enthralled with the song's spiritual subject matter.[7] Keyboardist Rick Davies told NME that "Personally, I decry it. I'd sooner remain anonymous than become religious. I might fight with Roger on this next album about that ... It's not right. You've got people in the band who couldn't give a damn."[8] Saxophonist John Helliwell stated that "when [Hodgson] wrote about Christ or Babaji—whoever that is—we just wished he would sing about something else."[9] Helliwell also noted that "Rick was pretty down to earth whereas Roger was a bit more mentally…not a higher plane, but spacey – he had spiritual yearnings."[7]

According to Siebenberg, Hodgson "came up with the different bits of time" that he played on the song.[3] He said that of the songs on Even in the Quietest Moments... "Babaji" took the longest to work out the drum parts because everything had to be very precise, including which parts were played on which drum or bell.[3]

The Rough Guide to Rock critic Lance Phillips described the song as a progressive rock song and described the theme as "lost-little-boy spiritualism."[10]

Reception

Record World said that "strings and electronic undercurrents create an exceptionally colorful tapestry which is topped off by an exemplary vocal blend."[11] Music critic Mark Moran described "Babaji", as well as "Give a Little Bit", as having a "leisurely pace and gentle melody" which Helliwell attributed to the band's growing maturity.[12] Steve Wosahla of the Messenger-Press similarly acknowledged those two songs as representing the "more 'subtle' approach the band had hoped to incorporate" into Even in the Quietest Moments..., calling them "excellent complements" to the harder songs on the album.[13] Brandon Sun critic Graham Hicks felt that the song "could have been a classic" but falls short due to the non-electric piano being unable to achieve the "light, strident" notes Hicks believes the song calls for, and due to "unimaginative and repetitive" percussion and bass guitar playing.[14] Sounds critic Geoff Barton found "Babaji" to be "less than enthralling."[3] AllMusic critic Stephen Thomas Erlewine described it as "a pseudo-spiritual moment that falls from the pop mark."[15]

"Babaji" was later released on the 1992 compilation album The Very Best of Supertramp 2.[16]

Personnel

Supertramp

Production

References
  1. "Supertramp singles".
  2. Hurwitz, Matt (3 April 2018). "Classic Tracks: Supertramp's "Give a Little Bit"". Mixonline. Retrieved 12 June 2023.
  3. Melhuish, Martin (1986). The Supertramp Book. Omnibus Press. pp. 124–126. ISBN 0-7119-0787-0.
  4. Green, Susan (10 June 1977). "Supertramp Searches for a New Tune". The Burlington Free Press. pp. 1C, 3C – via Newspapers.com.
  5. "Supertramp Shows Well with Clockwork Competence". Star-Phoenix. 9 April 1977. p. 17 – via Newspapers.com.
  6. Beech, Bob (29 April 1977). "Quiet Moments Supertramp's Best". Richmond Review. p. 10 – via Newspapers.com.
  7. "How Supertramp made the classic Breakfast In America". Prog. Louder Sound. 27 March 2020. Retrieved 23 March 2023.
  8. Giles, Jeff (29 March 2016). "40 Years Ago: Supertramp Blow Up with 'Breakfast in America'". Ultimate Classic Rock. Retrieved 16 April 2019.
  9. Milano, Brett (26 June 1985). "Supertramp Finds New Lease on Life". The Boston Globe. p. 73 – via Newspapers.com.
  10. Phillips, Lance (2003). Buckley, Peter (ed.). The Rough Guide to Rock (3rd ed.). Rough Guides. p. 1038. ISBN 9781843531050.
  11. "Hits of the Week" (PDF). Record World. 16 April 1977. p. 1. Retrieved 16 February 2023.
  12. Moran, Mark (25 May 1977). "Supertramp a Super 'Event'". Green Bay Press-Gazette. p. D9 – via Newspapers.com.
  13. Wosahla, Steve (21 July 1977). "In the Groove: Supertramp". Messenger-Press. p. 7 – via Newspapers.com.
  14. Hicks, Graham (30 April 1977). "For the Record". Brandon Sun. p. 17 – via Newspapers.com.
  15. Erlewine, Stephen Thomas. "Even in the Quietest Moments..." AllMusic. Retrieved 16 April 2019.
  16. O'Brien, Jon. "The Very Best of Supertramp, Vol. 2". AllMusic. Retrieved 16 April 2019.
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