Am Em/A They tell you not to hang around and learn what life's about. G/A Dm/ A F/A Don't be out too late, don't let it get too dark. BRIDGE 1: (EP, Freely, Very slow lead-in) Am D/A Am G/A Am D/A Am G/ A VERSE 2: (EP +Bass +Drums) Am Em/A After school is over, you're playing in the park. (+Clarinet) Am Em Teacher tells you stop your play and get on with your work, G Dm And be like Johnny Toogood. G Dm Don't forget your books, you know you've got to learn the golden rule. Not yet mentioned, but another favourite track of mine on COTC is If everyone was listening.SCHOOL - SUPERTRAMP INTRO: (Harmonica ad lib) VERSE 1: (Vintage Electric Piano +E Guitar) Am Em I can see you in the morning when you go to school. In Holland it was released at least three times as a single. BTW, I never understood why it wasn't a hit at the time, not even in the UK. But Crime is their masterpiece and I consider School the best track of it, with its various moods, sounds and tempos. Not that it's a bad thing in itself - Moments and Breakfast are still great albums. I do believe that Roger was taking over when the later Supertramp albums turned into a poppier direction. on his first solo disc In the eye of the storm. It's not a coincidence that his solo album all contain perfect pop material, even though he stretches out on some of the songs, esp. Roger Hodgson, although the better singer of the two, is more of a pop guy. I agree with the poster who stated that Rick Davies was the true prog member of the band. And recently I picked up another neat copy of the vinyl album again. Have the MFSL as well - one of the few titles that I have. I bought two copies of the vinyl album back in the day and wore them both out. Then again, I love Supertramp, they're really one of my favourite bands of all time. A perfect example of a marriage between pop and prog, though I think it's still more on the pop side of things. I agree with all (well, most.) of the above. Discussion and disagreeing opinions are welcome, dissention is not.
All throughout the song little touches of sax, xylophone and I'm not sure what instrument add those small moments you close your eyes and just wait for "that" part to come on.
This is where the bass and drum take center stage and drive home the plaintive cries of Roger's questioning. What a fine way to wrap up an outstanding song.
Then, half-time (not sure if the count actually changes or not). Piano and guitar and a mediocre (sorry, but that IS the least of the song and even that, it's not bad) bass line solidify the edge of madness the intro hints at into a plateau of stable musicality. Transitioning into a mellow pulse of guitar and drum it maintains its ethereal feel for a bit then changes into something. It begins with that haunting harmonica piece which transitions into Roger's woeful mourning tale of seeing someone headed to institutionalized learning.
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