JETHRO TULL

This album seems to cause the most distress among fans and, as you can see from other reviews, led to incredibly varying opinions. I personally think that A Passion Play is one of Tull''s best, in no way inferior to their universally declared masterpiece Thick as a Brick.

Everyone knows that TAAB was Tull''s mockery of concept albums (after Aqualung being mislabeled, according to Anderson) by presenting and absolutely ridiculous concept; the entire lyric of the 40+ minute song was an epic poem written by an 8 year old boy. For APP, Ian Anderson decided to take the concept album idea seriously, crafting an incredibly deep and well-written story of a man''s journey from death to limbo, heaven to hell, and the afterlife back into the "passion play" of mortal life. (I don't have the time or patience to outline the entire story for you, but there are plenty of resources on the web, such as an article at "the ministry of information" website). They even had time to write the short parable in the form of the interesting, humorous "The Hare Who Lost His Spectacles."

Although this album took a few listens to grow on me, it is now my favorite Jethro Tull album. The music in APP is quite possibly even more intricate and complex than on TAAB. It lacks the flow of TAAB and has less repeated musical themes, but i personally don''t think the album suffers from it (although it makes calling APP a single song a bit unnecessary). Ian Anderson seems to put his flute aside for most of the album, filling the void with the saxophone. This at first disappointed me, but the different sound grew on me and helps make this album stand out as a unique work, especially compared to TAAB.

Because it happens to be one of the most coherent, interesting, and deep concept albums I''ve heard, A Passion Play deserves no less than 5 stars. A must have for any Tull fan and highly recommended for all prog fans.

War Child is incredibly enjoyable!

...If you start listening half way through like I usually do.

The first half of the album does kick of pretty well with War Child, a solid if not overly original piece. The next four songs also indelibly carry the Jethro Tull stamp. They are smothered in molasses-y Ian Anderson-ness. For most of us that is usually to be counted as a really good thing. The only problem is this is a grinding and middling Jethro Tull. This condition is personified by Back-Door Angels.

To its credit Back-Door Angels is exempt from a particularly biting criticism, when coming from me at any rate. I hated how the strings sounded on Queen and Country, Ladies and to a lesser extent Sealion. If you have read just about any of my other reviews you will know I die for strings. They are piercing and unnecessary on all three.

The first half of War Child is an exercise in mediocrity and should generally be avoided.

Stinging, but...

I don't think I can say enough good things about what comes next. Skating Away on the Thin Ice of a New Day is absolutely fantastic. This is my favourite piece of Jethro Tull work apart from the opening sequence to Thick as Brick. I sing along every time. My only slight criticism is that the world music stuff is kind of superfluous, but not really damaging.

Up next is the well known Bungle in the Jungle. This is the kind of piece that they were probably reaching for on the beginning of the album but failed to achieve. I am willing to bet it is much derided for its popularity. But let's face it, it's good if a little on the pop music side of the scene. Also, the strings are mercifully redeemed here.

Only Solitaire is short, but very sweet. Ian Anderson's vocals are killer along with the acoustic guitar. The lyrics are excellent and the change-up to the slowed down latter portion is enjoyable.

The Third Hurrah is a bit silly. If I had to pick a weakest piece for the second half this would probably have to be it. That being said it still soars above even War Child whose virtues I so weakly extolled earlier. The Third Hurrah is kind of bouncy and loaded with keyboards and yes the pipes as well. It reprises the War Child refrain to much better effect. This piece exudes Englishness as well.

The final entry is Two Fingers which is a reprise of Lick Your Fingers Clean off of Aqualung. Being associated with Aqualung is seldom a bad omen and it certainly isn't here. Two fingers is a fairly straight forward style of rocker (for Jethro Tull). It does constantly shift from acoustic to electric nicely and is supported by Ian Anderson's exceptional singing yet again. For the record I like Lick Your Fingers Clean a little better than Two Fingers.

I give the first half of War Child a dismal 1 out of 5, and on the other hand I give the second half a well deserved 5 out of 5. So seeing as how I love the second half just so much I think I am going to be forgiving and award War Child a 3 out of 5 on the balance. If it makes any sense I recommend this album entirely for its stunning second half.

Listening to this Jethro Tull compilation is like drinking bottle after bottle of stale beer. The drinker may feel pleasant and warm inside (or even drunk with glee), but the overall experience leaves a fair bit to be desired. Ian Anderson himself lamented on the limitations of putting together such an album (cocky fellow that he is- that's just a joke folks): In the notes he essentially questioned how one can distill his life's career into less than eighty minutes, and what's more, should one focus on one's most celebrated works or take a more expansive approach? True fans will likely see the futility in this, but will accept the limitations, no matter how begrudgingly, especially when it comes to drawing in fresh meat! After all, this was my first Jethro Tull "album," at a time when all I knew about the band was what I heard on the radio. In fact, until I came upon a certain website that had a certain album as its number one album of all time, I never would have considered Jethro Tull to be a progressive rock band by any stretch of the imagination (but at the time, I thought the same of Genesis, so there we are). I honestly believed that "Thick as a Brick" was a pithy little acoustic song! Imagine my surprise when I discovered that it came from an album that consists of two twenty-minute tracks! One realizes that it is inappropriate to exclude "Thick as a Brick" from something deemed "the very best of Jethro Tull," and yet it is an insult to the composition itself to include a measly three minutes of it. In fact, a few of the entries are truncated in a humane but simultaneously castrating manner. However, this exists as a promising and somewhat career-spanning compilation that should impress casual fans, but could have done a better job at least pointing out that there is so much more...A Passion Play, anyone?

Benefit - Jethro Tull (3.21 stars) Original Release: 04/20/1970

Songs:

With You There to Help Me (3 stars) This song has an ominous tone which peaks in an interesting pair of instrumental and vocal chorus'. I'm not able to discern the meaning of the lyrics. The song has good energy but doesn't interest me as much as I would like it to.

Nothing To Say (3 stars) This song first features that distinctive early Tull guitar sound which has a mildly baroque, staccato, hard rock anthem quality to it (for lack of a better description). The lyrics describe a negative mysticism, a wisdom of the rejection of the world. The guitar peaks with a exuberant melancholy that is evocative when the lyrics reach their brief chorus.

Alive and Well and Living In (4 stars) This song brings a slightly more richly textured instrumentation. The song moves from a bass and piano sectin to a flute and guitar section and back down (in intensity) again. The lyrics describe the unwitnessed choices of a woman who gives without expectation of return. Very enjoyable song that ends a little soon.

Son (3 stars) This song depicts a sarcastic conversation between father and son. The character of the father is painted with hypocracy. The song switches tone from hard rock to acoustic guitar in the middle presumably to change the perspective from father to son. Then it switches back again to complete this short song. This song and the previous one present some brief character sketches.

For Michael Collins, Jeffrey and Me (4 stars) This song starts with a sweet acoustic guitar and lilting vocals. I don't get the lyrics meaning. The sweet melancholy picks up a joyful pitch in the chorus. Interesting, beautiful song.

To Cry You a Song (3 stars) That early Tull guitar sound is back and after the chorus the guitar breaks out into a skywards fanfare. Then the instrumental section descends back down in stages to the vocals again. The lyrics speak of the travelling musician/singer flying to London to perform (cry = sing); he has his cigarettes and alcohol.

A Time for Everything? (3 stars) Piano, guitar, flute start off this song, then, without having realized it there is some of that great aggressive flute playing that until now hasn't been present or noticable anywhere earlier on this album. The song has a reflective and anticipatory feeling. I wanted this song to kick off into more aggressive flute playing. Somehow the song seemed poised to take off but it doesn't quite make it.

Inside (3 stars) Lyrics suggest an almost giddy man with nothing in his pockets now but success assured in the near future. A growing fame already presents privacy issues, perhaps, but the protagonist finds moments to be real with true friends. The music is also happy and breaks out into a higher joy/faster pace. A second pass at that higher joy is never made as the remainder of the song seems to stall at the song's initial level of reverie which is somewhat anti-climatic.

Play in Time (3 stars) An aggressive flute and guitar again! Interesting organ work as well. The lyrics seem to be about performing the music that is within the musician and some of the challenges in doing that. Interesting "edit room" effects wind up the energy in places in this song.

Sossity; You're a Woman (4 stars) Expose about an older woman who thought she was getting her kicks from a younger man but it seems such relationships only ends in bitter disappointment. The chorus suggests that this older woman and society are interchangable ideas. The organ and acoustic guitar make a melancholy joy and the serene chorus is haunting as is the final guitar chord.

Singing All Day (2 stars) Straight-forward song about the happy anticipation of seeing a particular woman; short dreamy mid-section adds only slight interest to this song.

Witch's Promise (4 stars) Acoustic guitar and flute instrument this anima song. The mood picks up a notch and mellotrons come in. The song builds as it goes forward more effectively than most of Tull's songs to date that I have reviewed.

Just Trying to Be (3 stars) A xylophone or well tuned toy piano and acoustic guitar play on this quiet and extremely short song with evocative lyrics about how personal identity is confused by parental over- guiding of the play of their children.

Teacher [Original UK Mix] (3 stars) Funky version of that early Tull guitar sound. The lyrics describe a "teacher" who recommends not getting stuck in things and getting out and experiencing the world while the listener humorously seems to miss the point. But this whole exchange seems to occur in the bright morning of a day inside the protagonist's head; a waking dream of inspiration soon lost.

Album:

That familiar guitar sound heard on some of Tull's most popular classic rock songs appears on this album for the first time. The album is a collection of songs with some more musically interesting that others. I wouldn't quite call them a progressive rock band at this point although they are widely appreciated by fans of the genre; Tull's songs are not slaves to the standard chorus, but they have only a few, well-developed instrumental sections.

MP3 recommendation:

Four stars (4 stars) 1. Alive and Well and Living In (4 stars) 2. For Michael Collins, Jeffrey and Me (4 stars) 3. Sossity; You're a Woman (4 stars) 4. Witch's Promise (4 stars)

Oh my!! This record is on my list of top 10/life altering/desert island/insert random category/greatest of all time!!! I didn't really discover this album until around 1983 (jr./sr. year of high school), had heard the title track, obviously, but had no idea how magical the rest of the record was!!! Prog wasn't really a concept that I understood, cared about, or realized, but now when I look back, this was definitely one of the bands/records that would help to mold my prog tendencies!! Back then, it was just a cool folk/rock record by a guy named Jethro?!?!?!......something-or-other........then, bought the record.....saw it was a BAND....not a DUDE!!!!.....had to get my hands on anything else these guys did...and,alas,a love affair was born. 5-star plus, and on my i-pod playlist 4-ever!!

A true masterpiece of an album, from a true legend of a band. Here they continue their winning ways as evidenced on Songs From The Wood. If it ain't broke, why fix it? Once again Mr. Anderson presents us with a very strong dose of heavenly folk melodies, mixed with an admittedly reduced but still very noticeable dose of prog.

In songwriting terms, I think these are Tull's best songs since Thick As A Brick, and that is not something that I say lightly. Each track is its own individual highlight, for me there is not a moment of filler anywhere. The tracks also have a special way of sounding immediately accesible, but manage to reward countless re-listens with their depth as well.

This may not be one of Tull's most famous, but it is definitely their most underrated.

"Nothing is easy"

Certainly not trying to front a legendary rock band after so many years, with the dogs of age at one's heel. I'm torn as to how necessary such shows are these days when there are so many fine young bands with more relevant material to check out. My cynical side always brings the famous Grace Slick interview to mind where she says that no rocker of her generation over 40 should be allowed on stage. (Though 50 is the new 40 I they say) Granted there are some worthwhile artists well beyond that age who are still releasing relevant albums which sound like more than just product. There are many more old rockers who are in the phase of "managing their careers" by making obligatory live performances of nostalgia filled set lists, releasing lousy new material (if any), and watching over their legacy by supervising remasters and compiling collections. I won't go so far as to charge Tull with all of that, but I will say there are certainly moments in this performance where I wonder why another live Tull DVD was necessary.

Looking at the upside there are many moments of Anderson's exquisite flute playing to be enjoyed, and Barre and the band are well beyond competent. Bouree, Budapest, and Nothing is Easy were wonderful highlights that I enjoyed very much. The Christmas song God Rest ye Merry Gentlemen was lovely. Anderson was doing his best to stay engaged despite a wilting voice that he struggled to maintain, the others were very good as mentioned but sometimes seemed on autopilot. The performance was professional but the versions presented here just do not grab you by the jugular, this is not the definitive Tull. Sitting through the closing of Aqualung and Locomotive is something I could not do again, bringing the Slick quote back to my mind after I was able to push it out for several tracks. The production is low key with quality views and sounds, with nothing fancy in terms of a light show or frills. A modest recommendation but only for Tull fans really. Beyond the fan base I see no reason why you need to shell out hard-earned cash for this one.

The Broadsword and the Beast is for me a very good album, maybe it has the sound of 80's but that is not necessary bad. Songs still have the Jethro Tull sound in them.

Mine favourite here is Broadsword. Maybe for someone Broadsword is not some great musical achievement but for me it is more than an excellent song.It starts with darkness clouded melody and the sound of coming drums which are describing incoming trouble. You can almost see the ancient old leader in the high tower of the city that looks black sails of pirate ships on the horizon. And then he calls for his broadsword. Excellent imagery lyrics. Its funy that on the tour for Broadsword and the Beast entire stage was decorated to look like a pirate ship.The runic symbols around the edge of the cover are from the Cirth rune system used by J.R.R. Tolkien in The Lord of the Rings. The words are, however, English: the opening lyrics to Broadsword: "I see a dark sail on the horizon, set under a black cloud that hides the sun. Bring me my broadsword and clear understanding. Bring me my cross of gold as a talisman."

Other songs that should be mentioned are "Beastie" which opens the album, then follows an excellent "Clasp" which starts with gentle melody that soon goes into nice rhythmic drumming accompanied with excellent flute. "Fallen On Hard Times" is also good song with catchy tune. "Flying Colours" a bit boring in the beginning but when it goes in rhythm you discover nice pop rock song, I also like guitar solo here. "Slow Marching Band" is ok ballad, nothing spectacular but worth of listening."Cheerio" is very short and nice closer.

In some kind of more detailed review I would rate this album 3.6 but in the end ( mostly because of great Broadsword ) i'll give it 4 stars.

I'm afraid I don't share the same urge as most reviewers, and most Tull fans in general apparently, to mercilessly assault this record. This is one of my favorite Tull albums, up there with "Minstrel." Yes, it has cheesy early '80s technology. But it was recorded in the early '80s. "Thick as a Brick" has cheesy early '70s technology. "Songs From the Wood" has cheesy 1670s technology. That's what Anderson does.

It's an interesting record. It does flag at the end; the last four cuts on the CD (the last two on the vinyl LP) are lesser. And in fact, "Under Wraps #2," while a nice interpretation of the title track, simply doesn't belong and should have been left off. I don't guess there was much else available to fill that slot, as the remaster doesn't have any bonus tracks, and I don't recall any other stuff from that era appearing anywhere else. The weakness of those final cuts ("Apogee" etc.) does suggest that Anderson and Vettese wrote exactly as much music as they needed to fill 40 minutes, perhaps because the technology was so slow and painful to use back then. It is not an album without flaws (but then, really only "Minstrel" is flawless).

But from that first unbelievably cheesy drum fill that opens "Lap of Luxury," through the silly spy novel conceits of "Later, That Same Evening" and the portrait of a lecherous astronomer in "Astronomy," to the additional silly spy novel conceits of "Nobody's Car," this is a charming, very enjoyable album. And under the wrap of the era's technology, the songs stand on their own. I realize it's a fool's dream, but I'd be one happy Tull fan if I were to see them (i.e., him) live and hear "European Legacy" and "Saboteur" instead of, for the 250 billionth time, "Aqualung" and "Locomotive Breath." (Granted, the "Locomotive Breath" Ian sans Tull did at the Beacon Theatre last year was intriguingly different, with its reworking in 5/4.)

That's my two cents. Great album; top five, probably top three in the Tull ouevre. You can either listen to your favorite "classic" Tull album 25 times in a row, to make up for the fact that Ian was uninterested in making the same album 25 times in a row (well, until 1989 anyway), or you can give the guy a break. I tend to indulge artists when they make moves like this, even when they don't work out, but by and large, this works out.

One of the most acclaimed prog records of all time, and perennially in PA's top 10, Thick as a Brick is certainly a behemoth of an album. In a way, this is stereotypical prog- long songs (erm... song- one 43 minute song), concepts (like making fun of concept albums), winding instrumental passages, flute, and the list goes on. Anyway, the album is very solid, featuring Anderson's always great lyrics- the overall meaning is probably growing up, though there's probably much more to this. than just that. The flute that Jethro Tull has become famous for is used to great effect on TAAB, creating peaceful atmospheres where needed, in contrast to other, harder parts anchored by the other instruments- everything is played very, very well, and each instrument finds a way to the foreground at some point- on only side one, you'll find a flute solo a quarter of the way through,the acoustic guitar that begins the album, an organ solo a little more than halfway through, an many, many parts where each instrument works together with the others to make a part filled with feelings and emotion. Overall, the album is a sprawling, meaty monster- however, the album's only flaw is that it's TOO big- the one song IS 43 minutes, after all, and at points, connections or pieces are a bit weak. This is certainly a challenging listen, and not for the fain of heart- however, if you have the time and open mind to take this in, it's amazing. My rating is four stars, recommended to fans of "traditional" seventies prog, and any beginners who want to know what prog is all about- it may take a while to fully appreciate the album, but it pays back double for your efforts.