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If Supertramp, struggling in 1974 after two muddled albums, wondered what it would be like if everyone was listening, they were about to find out. First released that October – it took months, and the surprise success of Dreamer, for its unique blend of pop and prog to attract momentum – Crime Of The Century still robs one of any resistance.
Its themes of youthful rebellion, insecurity, mental health, idealism and frustration at the way the world is run possess as much validity as those expectorated in more overtly aggressive music.
It’s a wonderful example of songcraft and inspired arrangements dovetailing, with co-producer Ken Scott (rightfully confident on the back of his era-defining work on Ziggy Stardust and Aladdin Sane) midwifing the melancholic mystery.
Richard Hewson’s orchestral work for Phil Spector on The Beatles’ Let It Be album may have provoked polarised reactions, but his contributions here, especially on that epic finale, are ravishing.
Roger Hodgson and the late Rick Davies, the band’s writers, were on quiet fire. They’d been sent to Dorset with an amended line-up to focus on their direction and reset their drive. While they’d later clash as personalities, here they were in sublime sync, building a loose concept for the album.
They were in the sweet spot of having reached a higher level of ability than they realised, along with trying really, really hard. They took big swings, but knew when a lighter touch fitted. It’s like Floyd played by 10cc.
Whether it’s the shriek as School scurries in, the dynamic drama of Hide In Your Shell or Asylum, or the rueful road trip of Rudy, Crime Of The Century endures as an artful masterpiece.
Hurriedly put together to press home their success, and hindered by Hodgson’s injured hand, the follow-up Crisis? What Crisis? has been somewhat damned with faint praise, both by band members and generally.
It’s at least given credit as a pathway from their loftier leanings to the chirpier subsequent work – and yet it’s far better than that suggests. There’s warmth and swing to the songs, a relaxed bonhomie which permits the pathos and prettiness of Easy Does It or Sister Moonshine to flourish and charm.
Gilbert O’Sullivan has said his former college bandmate Davies “taught me everything about music,” and there are flashes where a similarity in the pair’s piano-and-vocal styles are notable. Hodgson’s Lady strives with only moderate gains to be another Dreamer, but his Two Of Us is a flawless romantic miniature.
Paul Wakefield’s artwork for both albums will prompt a Proustian rush in many listeners. Rest assured the records themselves remain even more evocative.
The 50th anniversary vinyl remasters of Crime Of The Century and Crisis? What Crisis? are on sale now.
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