CRISIS? WHAT CRISIS?SupertrampCrossover Prog3.61 | 603 ratings |
From Progarchives.com, the ultimate progressive rock music website
Cesar Inca
Special Collaborator Honorary Collaborator |
Stuck between the more explicitely impressive "Crime" and "Even" albums, "Crisis? What
Crisis?" tends to be a bit overlooked by many prog reviewers, but I don't agree with it.
I acutally regarded it as Supertramp's secons best and most consistent album in their
entire career, although it is plain to see why it is overshadowed by its predecessor. It is
obvious that the "Crisis" material is not as refined in terms of arrangements and sound
as the "Even" material, but from a compositional point of view it is almost as solid as
the "Crime" material. It is healthy that Hodgson brings back the most optimistic side of
his introspective essence in order to create a more dynamic contrast to the usual sense
of bitterness and irony that one can expect from the Davies-penned numbers. It is also
a positive thing that Hodgson decided to return to the good use of his acoustic guitar,
so the melodic element in his compositions can bring an oasis of bucolic lyricism side to
side with the album's rockier pieces. The album kicks off with 'Easy Does It'/'Sister
Moonshine', two acoustic guitar-based songs written by Hodgson. The former is an
intro whose serene mood may remind us of any of the best ballads in McCartney's or
Harrison's solo albums in the early 70s, while the latter offers a more extroverted
expansion, complete with a tight rhythm section and effective solos by Helliwell on
flageolet and sax. Davies' harmonica also brings some extra colors that help to enhance
the bucolic mood, only borken momentarily by the lead guitar solo: arguably the best
electric guitar solo in a Supertramp song. 'Ain't Nobody but Me' is an explosive mid-
tempo rocker built in a robust bluesy atmosphere. The sense of energy displayed in this
track finds an appropriate counterpart in the following piece, th majestic 'A Soapbox
Opera'. For this one, Hodgson plays piano and sings the lead vocals, while the organ
and the string synthesizer create elegant orchestrations. The solemn beuaty of the
main motif is efficiently adorned by the interlude's chorale and the closing climax: this
climax feels quite brief, yet it is effective, indeed. 'Another Man's Woman' is another
Davies-penned rocker, in which he has the chance to show his peculiar style and skill on
grand piano, tightly accompanied by Siebenberg and Thompson and cleverly
complemented by Hodgson's guitar riffs and Helliwell's multi-tracked saxes. 'Lady' opens
up the album's second half bearing similar tempo and mood as 'Dreamer'. This song is
not as charismatic, but it sure brings a breath of fresh air before the ironic bitterness
of 'Poor Boy', Davies' tribute to the old days of ancient jazz. 'Just a Normal Day' is a
power ballad that portrays the duality between lonely desolation and the need to enjoy
the good thing in life, not unlike 'Rudy from "Crime". It is not as majestic as 'Rudy', but
it is very moving: an underrated Davies' song that should be more appreciated.
With 'The Meaning' and 'Two of Us', Hodgson resumes the leading role from behind the
strings of his acoustic guitar. The former is an uplifting hymn against the common vices
of modern life and for a recovery of our truest self: it includes some of the most
magnificent Helliwell's sax solos ever. The latter is a ballad of search for peace and
love, in which the acoustic guitar and lead voice find a perfect background in the
harmonium and organ layers. A ver ygood ending for an excellent Supertramp item.
Cesar Inca |
4/5 |
MEMBERS LOGIN ZONEAs a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums. You are not logged, please complete authentication before continuing (use forum credentials). |