A short piano-and-guitar intro states the swaying figure that will govern the whole record, and within a few bars the voice joins on Crazy, I'm crazy for feelin' so lonely. The job here is contract-setting: the title word as opening hook, a slow tempo, two long lines set wide apart, each phrase leaning across the bar lines rather than landing square on them.

I knew you'd love me as long as you wanted turns the song from self-description into forecast, naming the leave-taking for the first time. Bass, light drums, and quiet backing voices have been arriving gradually across the first minute, so this verse reads as the setting completing itself rather than changing course.

The texture eases slightly as Worry, why do I let myself worry? arrives — the one section that interrogates rather than declares. Weight gathers under the second question, just before 1:20, tilting the record toward its close.

Oh, crazy, for thinking that my love could hold you opens a three-line close instead of the earlier pairs, with the backing voices now steady and a small ornamental flourish flashing inside the phrase near 1:48. The added third line, And I'm crazy for lovin' you, converts the title from a feeling into its cause.

The three lines return nearly unchanged, and the repetition is the section's work: nothing new is introduced; the verse simply proves it can bear being said twice, over the record's longest unbroken stretch of its sway. After the second crazy for lovin' you, the voice releases its last note, the support thins, and from about 2:36 the record eases out rather than stopping — a final lingering chord left to decay on its own.

One contract kept throughout: a single lilt from first bar to last, with only the words and how fully they are supported ever changing.