Supertramp - Crisis? What Crisis? (1975) + Bonus Tracks

 (U.K  1970-1988, 1996-2002, 2010-2011, 2015)

Very few groups are overnight successes. Most groups spend years struggling, trying to make a commercial breakthrough. Then after years of trying, success comes the way of the fortunate few. That was the case for Supertramp. It took three albums, and several changes in lineup before Supertramp made a commercial breakthrough.

Supertramp’s commercial breakthrough came with Crime Of The Century, which was released in September 1974. On its release, 'Crime Of The Century' received widespread critical acclaim. It is widely accepted that Crime Of The Century was by far, Supertramp’s finest album. That was reflected in sales. Crime Of The Century reached number four in Britain and number thirty-eight in the US Billboard 200 charts. This resulted in Crime Of The Century being certified gold in America and Britain. That, however, wasn’t the end of the commercial success.

Just over a year later, Supertramp returned with the follow up to Crime Of The Century, called 'Crisis? What Crisis?'  Released in November 1975, Crisis? saw the rise of Supertramp continue. They were now well on their way to becoming part of rock royalty. 

As soon as Crime Of The Century was released, A&M Records were pushing Supertramp to record another album. However, Supertramp were touring North America. During the tour, Roger Hodgson injured his hand. This resulted in Supertramp having to to cancel the rest of the North American tour. With extra time on their hands, Supertramp decided to begin work on what would become Crisis?.

While extra time would be welcomed by any band about to record an album, there was a problem. Rick Davies and Roger Hodgson’s principal songwriters didn’t have a vision for their fourth album. This had been the case with Supertramp’s sophomore album, Indelibly Stamped. So, when work began on what became Crisis?, Rick and Roger were having to think on their feet. This could prove costly.

For Crisis?, Rick Davies and Roger Hodgson, who had formed a potent songwriting partnership,  penned the ten tracks on the album. These ten tracks were recorded between summer and autumn 1975, at A&M Studios, Los Angeles, Ramport Studios and Scorpio Studios, London. 

When Supertramp began recording of Crisis?, Ken Scott returned as co-producer. Along with Supertramp, he would produced Crisis?. As the sessions began in the summer of 1975, Supertramp’s rhythm section featured Bob C. Benberg played drums and percussion, Dougie Thompson bass and Roger Hodgson vocals, guitar and keyboards. They were joined by Rick Davies on keyboards and vocals, while John Helliwell played saxophone and clarinet. By autumn 1975, Crisis? was completed. It would be released in September 1975.

When Crisis? was released, it reached just number twenty in Britain and number forty-four in the US Billboard 200 charts. This was a disappointment, as Crime Of The Century had been certified gold in America and Britain. At least Crisis? was certified platinum in Canada and gold in France and Germany. 

While the album may not have been one of Supertramp’s classic albums, it’s a far better album than the original reviews would have you believe. Crisis? is variously, beautiful, dramatic, melancholy, melodic and thoughtful. Elements of jazz, prog-rock, R&B, rock and soul can be heard over it's ten tracks. This makes for an intriguing and underrated album. That’s why Supertramp’s fourth album, Crisis? is one of the hidden gems in Supertramp’s back-catalogue. [extract from dereksmusicblog.com]

Album Review
(From epinions.com)

Before starting the Supertramp reviews, I figured Crisis? What Crisis? would get a 10/15, which is a grade I reserve for albums that are good but have a number of flaws. The reason for that is this is the only classic Supertramp album from their 1974-1979 Golden Age that I rarely listen to. Another reason: This is a marked step down from their previous album, Crime of the Century, even though it’s done in the exact same style. And nobody likes inferior sequels.

It turns out there is a pretty good reason Crisis? What Crisis? succumbed to inferior-sequelitis: After this group finally came out with an album that sold, their record company–being a record company–wanted a follow-up to come out as quickly as possible. The only way they could comply was to use leftover songs. Nevertheless, as I was listening to this album extensively to prepare this review, I found out that I was actually enjoying these songs quite a bit. Sure, it’s main problem is that these songs don’t quite hit me like the peak songs of Crime of the Century–nothing that quite matches the staying power of “Hide in Your Shell,” “Bloody Well Right,” or “School.” However, if you liked the other songs of that album, then you ought to like these songs almost equally as much.

It starts with “Easy Does It” a lighthearted, two-minute pop song that reminds me of solo-Paul McCartney. The melody is cute and likeable. What else do you expect from it? That’s followed up with “Sister Moonshine,” which is such a strong tune that I think it ought to be included on Supertramp’s Greatest Hits compilations. I guess the only thing holding it back was something technical: It wasn’t a hit. However, it contains so many melodic/instrumental turns that catch my ear and make the song into a delight.

“Ain’t Nobody But Me” is darker and characterized by a heavy, sultry piano, wobbly guitar and watery Hammond organ. The chorus it breaks into is more soaring and thoughtful, and you know, it’s choruses like those that made me turn into a Supertramp fan in the first place. It might not be as memorable as one of their hits, but it has soul. “Soapbox Opera” is a theatrical ballad that comes off as a bit unfocused and not nearly as BIG as I think it could have been, but I like its thick atmosphere, and there are also plenty of interesting vocal hooks interspersed throughout.

1975 Tour

In 1975, Supertramp had their sights set on more distant lands and in less than a month (April ‘75) John Helliwell and the band found themselves playing in Supertramp’s first ever American show in Milwaukee. John's wife Christine stayed behind in England and the same month gave birth to the couple’s first child, Charles Louis on the night that Supertramp performed in St. Louis Missouri. After playing further US and Canadian dates, the band members found themselves on the west coast and were able to put down some kind of roots, renting accommodation in the Venice Beach area outside of LA. At that time it wasn’t perhaps what the Helliwells had been used to in Maidenhead – John recalled one sticky moment where he exited his apartment and walked straight into a posse of policemen, guns drawn in hot pursuit of a felon. Shaken, he quickly followed their “Son get back inside” instructions.

John and Supertramp returned briefly to the recording studio in LA in the summer of ’75, to begin work on his second album with the band. He headed off to play several more N. American dates with them before returning home to London and the autumn completion of work on what would become “Crisis? What Crisis?

With the single release of “Lady” from the album, Supertramp returned to the road in November of ’75 for a UK tour to coincide with the album’s release. After a brief respite for Christmas, it was off once more in January, this time on a European tour. The tour ended triumphantly with a sold out Royal Albert Hall show, at which John announced the birth of Jesse C. Benberg to the assembled 6000 crowd. Little did they know that the same lad would be playing percussion on that very stage with them twenty two years later in 1997.

The band had by this time decided to make a go of it in the States, intending to relocate permanently to the west coast. John and Christine sold off their house contents and the band embarked on a global tour for the new 'Crisis' album. John spent the next few months touring N. America and in May headed with the band towards Japan then Australia and New Zealand. [extract from John Helliwell's Website]

This post consists of FLACs ripped from my vinyl (purchased 2nd hand back in 1976) and includes full album artwork for both vinyl and CD. I bought this album thinking it was the released before 'Crime Of The Century' and always looked upon it as the predecessor to their masterpiece release in 1974. To me, tracks like 'Sister Moonshine' and 'A Soapbox Opera' were indicators of bigger things to come and and it was not until much later that I discovered my misconception. In my opinion, if this album had been released before Crime Of The Century, it would have been better received, but of course this is not the case.

However, don't discredit this album. 'Crime Of The Century' was a hard act to follow, and like many bands who release a 'masterpiece' (ie. Led Zeppelin - IV, Pink Floyd - Darkside Of The Moon, Deep Purple - Machine Head) their follow up albums always receive criticism. This release is still solid nevertheless.
To make this post more attractive, I have chosen to include a single edit version of "Lady" and it's non-album B-Side, along with 3 live tracks from their 1975 Tour.

Track Listing

01. Easy Does It - 2:18
02. Sister Moonshine - 5:15
03. Ain't Nobody But Me - 5:14
04. A Soapbox Opera - 4:54
05. Another Man's Woman - 6:15
06. Lady - 5:24
07. Poor Boy - 5:07
08. Just A Normal Day - 4:01
09. The Meaning - 5:20
10. Two Of Us – 3:24
Bonus Tracks
11. Lady [Single edit] - 3:40
12. You Started Laughing When I Held You In My Arms [B-Side Single] - 3:58
13. Sister Moonshine (Live Hammersmith Odeon, 1975-03-09) - 5:27
14. Ain't Nobody But Me (Live Hammersmith Odeon, 1975-03-09) - 4:53
15. A Soapbox Opera (Live Hammersmith Odeon, 1975-03-09) - 4:33

- Roger Hodgson - lead vocals, guitars, keyboards
- Rick Davies - lead vocals, keyboards
- John Anthony Helliwell - wind instruments, vocals
- Dougie Thomson - bass
- Bob C. Benberg - drums, percussion

Supertramp Crisis Link (368Mb)