Supertramp ‎– Crisis? What Crisis? (1975)

Crisis? What Crisis? is the fourth album by English symphonic-pop band Supertramp, released in 1975 on A&M. The release was the band’s second to feature the “classic” lineup that premiered on the prior year’s Crime of the Century LP.

“Another Man’s Woman”

Starts with faint classical piano filigree that slowly fades in to full volume. Zaragon describes this as starting with “little ivory white pearly sparkly beauties” that subtly comes forth, giving the impression of the sound emerging or “fading in.” He compares it to Tony Banks‘ intro on “The Lamb Lies Down on Broadway” from the 1974 double-album by Genesis. This technique creates a sense of anticipation and a gentle, ethereal opening to the song.

Later, the classical piano interacts with a “funky chugga-chugga guitar” and performs “random ivory fills” that eventually bring back elements of the melody.

Towards the end, after the lyrics conclude, the song enters a freeform, sparse section where certain thematic elements fight their way through, eventually leading into a grandiose, almost medley-like passage. Zaragon speculates if these were different song ideas combined or a continuous creative process.

Lyrically, the song begins with the narrator expressing confusion and a plea for clarity in a relationship with a woman. He asks, “If there’s no way of knowing where’s the answer?” indicating a lack of understanding of her intentions. The perspective shifts to the narrator realizing he’s being seduced by a woman who is already in a relationship (“another man’s woman”) and might be using him for revenge.

There’s a sense of impending danger and moral conflict as the narrator hears “the hound dog callin’ me a cheating man,” despite him not being the one cheating—the woman is. The narrator conveys feelings of in a confusing, unstable situation (“round and round we always go for it’s yes and then it’s no”). He asks if she “cast a spell on me,”suggesting he feels manipulated or unable to escape the situation.

“Lady”

The song’s structure evolves with various sections that contribute to its complexity:

• Initial Instrumentation and Cadence: The song starts with a tight, close cadence in the verses, featuring an arpeggiated Wurlitzer piano, harpsichord, and mallets. This creates a “nervy” feeling that then bursts into more open and expansive sections.
• Tempo Changes and Percussion: The tempo shifts, with “big fast brisk waves.” Percussion elements are introduced and then disappear.
• Lyrical Sections and Momentum: The song features brisk passages with unyielding forward momentum that transition into moments where the music pauses and sustains, often leading back to the characteristic staccato Wurlitzer and Roger Hodgson’s voice.
• Percussion and Gong Effect: The addition of other percussive elements, like a “fiber slap” (3:09), and a distinctive gong effect followed by instruments dropping out and sustaining sounds, adds to its unique character
• Extended Coda: The song includes a long, effective outro that Zaragon notes adds about a third to the song’s duration. This extended coda serves as a way to “unwind from the catharsis” of the more grandiose parts.

The song features distinctive keyboard sounds that significantly contribute to its overall character:

• Wurlitzer Piano: The Wurlitzer piano is a prominent instrument, known for its arpeggiated staccato figure. It creates a “tight close cadence” in the verses, described as “nervy.” This sound is highlighted as one of the two main takeaway characteristics of the piece.
• Harpsichord: The harpsichord adds another distinct tonal layer, contributing to the overall keyboard sound.
• Organ/B3: There’s a “droning” low note that sounds like a B3 organ, possibly played through a Leslie pedal, which adds a unique sonic character.

The lyrical perspectives shifts to explore complex relationship dynamics and internal conflicts. Initially, he attempts to prevent the lady from making a “rash decision.” He believes she’s being naive and impulsive, possibly taking their relationship for granted.

There’s an interesting double meaning in the line “and you know just who you are.” Initially, it sounds like he acknowledges her self-confidence, but then it shifts to an implied critique that she lacks a “nuanced understanding” of life and situations due to her youth.

Later in the song, there’s a spoken line, “mister you better get a move on,” which Zaragon interprets as the woman’s point of view, suggesting a shift in agency or a response to the man’s earlier plea.

The repeated line “you’re taking the long way, she’s turning about” from Hodgson’s perspective implies a third-person observation of the woman’s misguided path, contrasting her immediate desires with the man’s long-term ideals for building a life.

Tracklist:

A1. Easy Does It
A2. Sister Moonshine
A3. Ain’t Nobody But Me
A4. A Soapbox Opera
A5. Another Man’s Woman

B1. Lady
B2. Poor Boy
B3. Just a Normal Day
B4. The Meaning
B5. Two Of Us

Credits:

• Rick Davies – vocals, piano, Wurlitzer, harmonica, organ, synthesizers
• Roger Hodgson – vocals, electric/12-string acoustic guitar, piano, Wurlitzer, flageolet, cello, harmonium, marimba
• John Anthony Helliwell – saxophones, clarinet, harmonies
• Dougie Thomson – bass
• Bob C. Benberg – drums, percussion

Ken Scott – production