CRISIS? WHAT CRISIS?

1. Easy Does It for its distinctive intro, car, horn, cinematic, as we would write a few decades later; Roger sings delicately over a cozy atmosphere, like a relaxing armchair on a garbage dump, well; a magnificent opening to announce 2. Sister Moonshine and its fluid, crystalline guitar, yes I am not an AI, my words belong to me; the voice alert, Dougie's bass sets the rhythm; hey, the fluid voice, melancholically beautiful just before Bob's destructive pad and the guitar solo, how beautiful it is; enchanting keyboard solo and then rustic flute, prog rock at its finest, yes too underrated, come on, let's sing along 3. Ain't Nobody but Me arrives suddenly with its ephemeral rise, a contained hard violence; bang, piano arpeggio and Richard takes the vocals; Roger's heavy riff at heart and the warm organ that cradles our ears, the 'killers' melody; in short, John throws us a violent sax too, we're on dynamite, nectar too here with the gently bewitching chorus, the pleasure; the screaming finale, this barnyard choir, the gulp gulp in short the heavy high for those who still think that SUPERTRAMP is soft; in short, sweetness like the sequence with 4. A Soapbox Opera and its war cry, a CHURCHILL before its time and the 'Fool's'; in short, we talk and the piano is gone, Roger's melting voice and Bob's pad all rolling; the violins, the shouted vocal and the prog beauty only has a price; ah these divine, ethereal choirs, ah these piano notes before the reprise; One of the most beautiful tracks bringing prog to art-rock. 5. Another Man's Woman follows, yes, a logical progression with Richard, the beginning of a rivalry between them? A playful, jerky tone, a carefree, contemporary vibe, with a fierce riff and a dripping piano variation; its notes crescendoing, prog nobility, it never stops, aided by the sax that speaks at the end.

6. Lady and xylophone and a VANGELIS atmosphere on 'Opéra Sauvage', a brief memory; the best part, let's say it right away, is the warm organ that chops up the song and the vocals, and that roll, ah, Bob, he was so good in this register; after that, it takes on a rustic style à la Elton John, funny, this energy and this desire to find similarities; After screams that I still have trouble accepting, fortunately erased by the redundant note of the keyboard, beauty to the core with these clashing voices. 7. Poor Boy with the hen and the two-part build-up, the chorus, the addictive clap and finally the deliverance with the hot sax; well, if no one sees the hi-hat, it's because you're not prog; go swing a little to forget your disappointment. 8. Just a Normal Day for the love slow song with the heady vocal duet, all sprinkled with a haunting violin; John's sax becoming a landmark within the group; simple but still captivating. 9. The Meaning and this progressive, latent, welcoming intro; the build-up that leaves itself desired, the inimitable SUPERTAMP sound, the bewitching, cyclical, repetitive voice and the sax, everything is there to fly once again into the prog space at a low cost. The track that loops and takes you into its rhythm for a melting finale 10. Two of Us: Yes, we think it's all over, and yet the organ brings Roger singing in a cathedral, a bonus with a marshmallow tune, it's been a long time, a consensual tune with the acoustic guitar guiding us on the final journey; the solemn clarinet makes your hair stand on end and makes the finale sound like SUPERTRAMP, incredible? Inimitable.

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