JETHRO TULL

This is the only Tull album that I would consider to be genuinely bad. This is mainly due to the horrendous production and arrangements. Ian made a terrible decision to use programmed drum machines throughout (no drummer at all), presumably to seem hip and modern, then compounded that error by featuring that awful drum machine prominently above everything else in the mix. Also used programmed synths and cut and paste arrangements throughout that just sound terrible. Should have been considered an Anderson solo album, as sounds like Ian just playing with his new electronic toys and digital software. The music was assembled, not really played here, and the '80's technology used just doesn't cut it. It's too bad, as some of the songs could have been pretty good with the programmed nonsense removed and real instruments and arrangements used, as exemplified with the two different versions of the song 'Under Wraps', one with all the electronic nonsense, the other stripped down. The production and arrangements here deserve only 1 star, but the songs themselves deserve higher, so I arrive at 1.5 for the album. No really good tracks (but the one song with a stripped down version, Under Wraps #2, gives an idea of what the album could have been like with decent production). Rating: 1.5 stars

Probably their heaviest album overall, with more rock-heavy and harder rock songs, with very little acoustic work. This may have been in response to the backlash they received after winning the Grammy Award for best hard rock/heavy metal album in the previous year for an album (Crest of a Knave) that was considered neither hard rock nor metal. So they came back with a more rock-heavy album To solidify their hard rock credentials. Unfortunately, the result is one of their least enjoyable albums, without much to recommend it. I really could not pick out the best and worst songs here, as all are just OK. Nothing really bad, but also just not that good either. Contains many familiar elements of Tull songs, but the songs just don't gel into anything substantial. Somewhat generic songs, mostly not very memorable. Rating: 2.5

Better than expected after all the dismal things I heard about this one, actually somewhat enjoyable. Ian and the band trying many different things here, so there is a variety of styles, which is interesting, but also what seem like some odd choices for the band. Not at all bad, there are several good tracks here, and some are quite fun, including a strong finish to the album, but also some very questionable tracks. Runs the gamut from harder rock songs like Spiral to a lightweight acoustic caribbean-themed ditty (Hot Mango Flush) that is unlike any other Tull song. Thus, overall, a pretty good, but somewhat uneven album. Does contain quite a lot of great guitar and flute work throughout. Best tracks: Dot Com, Hunt By Numbers, Far Alaska, The Dog Ear Years, A Gift of Roses. Weaker tracks: El Nino, Black Mamba. Rating: 3ó

Somewhat of a comeback album for the band, following the dismal Under Wraps. Brought back a harder rock edge on a few tracks, and received substantial radio play and acclaim. Notoriously won the Grammy for best hard rock/heavy metal album (beating Metallica), which was roundly criticized as it is not really considered a hard rock album, and certainly not metal. Overall, it is somewhat varied in style and substance, ranging from acoustic, pop and rock tracks. This album also marked the start of their 'Dire Straits period', in that multiple songs on this album, and at least one on most of the subsequent albums, bore a strong resemblance to Dire Straits, not only in the talk-singing vocal of Ian by this time, but also in the overall style and structure of the songs. Not sure if this was a conscious decision to emulate the band, but some of these songs sound like they could actually be Dire Straits songs (not that there's anything wrong with that). Overall, a nice direction for the band in the 80's. Good, but still not one of their stronger albums. Best tracks: Jump Start, Budapest, Part of the Machine, Farm on the Freeway. Weaker tracks: Steel Monkey, Mountain Men. Dire Straits-sounding songs: She Said She Was a Dancer, Waking Edge, Raising Steam. Rating: 3 stars

Surprisingly good album for this time period, one of their stronger later albums. Starts off with a couple somewhat generic rockers, but then gets much more interesting. More acoustic than expected (lots of mandolin), and more diverse. Very Bluesy, from bluesy acoustic numbers to slow blues to blues-rock. Probably their most blues-heavy album since Benefit, and overall, it works very well, as they change-up the various blues styles throughout the album. Best tracks: Roll Your Own, Rocks on the Road, Gold-Tipped Boots Black Jacket and Tie, When Jesus Came to Play. Weaker tracks: This is Not Love, Occasional Demons, White Innocence. Rating 3 stars

With this album the band adds a more of an International-World music style, with the first few tracks having a somewhat middle eastern vibe. The Rest of the album features many strong tracks that make this one of their best from the later years, and strongest album from the nineties, with a variety of styles, strong songwriting, and excellent musicianship throughout. Also includes another in their Dire Straits-like series from this period: Another Harry's Bar. Best tracks: Valley, Beside Myself, Dangerous Veils, At last Forever, Out of the Noise, Stuck in the August Rain. Weaker tracks: Rare and Precious Chain, This Free Will. Rating: 3 stars

Strong debut album. At this early stage the band had a very different lineup, with blues guitarist Mick Abrahams, Glenn Cornick (bass), and Clive Bunker (drums), and was primarily a straight blues-rock band, with jazz influences. The album is filled with excellent jazz-blues guitar, bass, and drums work, supplemented with Anderson's flute and vocals, but good UK blues-rock bands were plentiful at that time, and this is fairly straight-forward blues-rock. Although a good start, the band had not yet developed their own unique style, and compared to what the band would later become, this ranks as good, but not great. Best tracks: Beggar's Farm, A Song For Jeffrey. Weaker tracks: Moved On Alone, It's Breaking Me Up. Rating: 3 stars

I know a lot of people love this album, but for me, it is somewhat of a step backward from the more unique and progressive Stand Up (1969), as the band has fallen back to a much more standard UK Blues-rock here, without the more innovative approaches and advances made on the previous album. Yes, they are very good at the blues-rock sound and style, but this does not best show their unique style and strengths that would make them a standout rock band. Also, some of the best songs from these sessions were not even included on the album, such as 'Teacher' (which was released as a standalone single) and 'Witch's Promise'. Thus, a very good album overall, but one that did not advance their sound and unique style beyond the blues-rock played by other bands. However, they would make tremendous leap into progressive rock with their next album. Best tracks: Nothing to Say, Alive and Well and Living In, Inside, Sossity You're a Woman. Weaker tracks: Son, A Time For Everything. Rating: 3.5 stars

More personnel changes, with Peter John-Vettese brought in on keyboards and synths and Gerry Conway on drums, along with Dave Pegg on bass. The band returns to more folk-style songs and themes here, and acoustic instrumentation, after the big changes in personnel and style for the previous album, A, but now also incorporating more synths and electronics as well. Thus, more synths and less acoustic guitar, but the songs and arrangements are quite good overall, although ends a bit weakly compared to rest of album. A fine album, certainly worth checking out and revisiting, but not at the level of their '70's output. Best tracks: Clasp, Fallen on Hard Times, Flying Colors, Slow Marching Band, Pussy Willow. Weaker tracks: Seal Driver, Cheerio. Rating 3.5

I remember being quite disappointed with this album upon its original release, as it seemed quite a step down from the thrills and invigorating highs of their previous albums. Not really bad, but somewhat lackluster in comparison. However, going back to it many years later I find it to be a very good album (especially compared to some of the later albums) with lots to recommend it. It still has that warm 1970's production, some great songs, and an overall comfortable feeling. The album starts off great, with a wonderful first half, with strong tracks such as Quiz Kids, Crazed Institution, and Salamander, but then sags quite a bit in the second half. Still very good, but overall the weakest of their great 1970's output. Best tracks: Salamander, Quiz Kids, Crazed Institution, Pied Piper. Weaker tracks: Bad-eyed and Loveless, The Checquered Flag. Rating: 3.5