UNDER WRAPS

1984's UNDER WRAPS is a lamentably limp, lackluster album from one of my normally favourite bands. I own a copy, but simply couldn't force myself to play it more than two or three times. There's way too much cold synth, and a glaring absence of the usual emotion, wit, good songwriting or conviction. Eminently forgettable: there are no essential tracks here -- not even any good ones.

What the heck happened? One for the dustbin!

Get a Britney Spears Lp, destroy the Cd and this one along, throw away the J T sleeve but keep the Spears one as it is definitely more valuable (much cuter, anyway) than this completely awful JT album. This is J T making a try to make new wave with the [&*!#]ty synths and rhythm boxes of the times. Even for the die-hard JT fan this should be avoided at all costs as this pitiful album is no accident and putting the blame on Vettese is really shunning the problem: Anderson's first solo album that came out around that time was the same crap. The concert of the period that I saw was slightly less awful as the drums sounded sampled , the awful digital synth covering everything possible. No wonder they took a four year break , as Knave will go back to Broadsword without alluding to this horrible blunder

Peter John Vettese's second album with JT & most of the blame for the dire quality of the album can be lain square at his door; he had watered down JT's sound on 'Broadsword', but still left them with a good album - unfortunately, Ian Andersen seems to have given him full rein on this album, as he did on his solo album released at the same time - result? Euro pap at it's worst! Avoid at all costs - this album has no redeeming features whatsoever!

JT's worst... this one shows how much Peter-John Vettese was a wrong choice for the band while Adams did a very fine shop on the Songs/Horses era... so Tull's trying to get airplays and, as it happens for most of the prog bands trying to do such thing, they sold their souls, produced a very bad album with catchy 80's arrangements but no good songs... nothing to save here but your money by avoiding this absolute sh*t !

Unfortunately this albums use of a drum machine or rythm composer along with the heavy synth sounds turns a lot of people off and therefore the tunes are not heard. If these songs were redone during a different time period this would be a far better release. Being the huge Tull fan I am I listened to this album enough times to get past the synthetic 80's sound and hear the songs for what they are and they are pretty good. Not as good as most of Tull's other output but deserving of three stars.

Compared to the previous "Broadsword & the beast", this record is quite more keyboards oriented. Plus, the electric guitar sounds more metallic, and the drums are programmed. Actually, most of the songs sound like Anderson's solo album "Walk into the light". It sounds like "I do not like this record" but it is rather the opposite: I find the compositions very addictive and PLEASANT to hear. Vettese's keyboards style is like on "Walk into the light": nervous, varied, elaborated and very futuristic. Anderson's lead vocals are excellent, and he uses many intonations; his flute parts are excellent too (how can he badly play the flute anyway?). There are also some interesting acoustic guitar parts. It is interesting to notice how well Pegg's bass is inserted through all that nervous digital music; the keyboards provide many rhythms too. I must admit that the repetitive hammer sounding drums may irritate more than one listener, but I find that it fits very well with the nervous keyboards. ALL the tracks are excellent and rather catchy.

Rating: 4.5 stars

An inflexible, mechanical opus whose brisk digital bitstream buffeted my dreamcraft a bit rudely in the beginning. Over many, many sittings I've finally spied the charm of IAN ANDERSON's cold war fantasy, though the fact remains that "Under Wraps" is one of TULL's most inhospitable works this side of Rock Island. The troubling point for longtime listeners is the increased role that electronics play in the storytelling; a song like "Astronomy" (not available on elpee) sounds more like Thomas DOLBY than anything on Broadsword. "Under Wraps" #2 at least offers a tantalizing picture of the soul in the machine, and may be the first foothold from which fans scale the slick digital face presented them. That was my experience anyway. Soon, I was detecting all sorts of great music in the crevices of "Later That Same Evening", "Radio Free Moscow", "European Legacy" et cetera. As it turned out, TULL hadn't changed the way they write their music, just the instruments they use to play it. Synthesizers and electronic drums (provided mostly by Mr. A this time) leap in and out of the mix the same way that a mandolin or portative organ might have earlier. The result is more jarring and less tantalizing than earlier efforts, but altogether not so different otherwise (I'm paying myself by the word today). Stack up "Nobody's Car" against "Taxi Grab", "Heat" against "Beastie", and it's the same genius at work.

It'll be small consolation at first as you wonder where the magic went, but it's there, hidden under the sheets and ultimately worth the detective work it takes to find it. Since I haven't heard Walk Into Light, I can't compare the two, though it's not a stretch to imagine "Under Wraps" as a solo album from IAN since he probably could have achieved the same results on his own. I mention that only because "Under Wraps" seems to exist on the periphery of the TULL discography, like Pluto a planetary body at apogee to the band's core sound (think I'll give myself bonus points for working the word "apogee" in here). Note that the cassette adds two extra tracks, the compact disc two more. The elpee contains the core of the story and the best music, but since this is TULL we're talking about, the more the merrier.

Excuse me, but while I can accept that different people have various opinions about anything, there are some simple facts that are necessary to admit. Admiring very much the career of JT from "This Was" to "Stormwatch", I really wonder how can anyone give this extremely bad album a five star rating?! I bought it immediately upon its release back in 1984 and suffered badly during the repeated attempt to listen through it. I remeber I played it only two times ever, before deciding to get rid of it ASAP. Luckily a friend was a completist die-hard JT fan who did not mind the horrible synthetic sound, rythm machines, stupid lyrics and pointless songs by the old weary I. Anderson who made the typical mid- 1980s "prog mistake" - trying to sound "modern" in the new romantic era, without offering any substantively new ideas. Absolutely negligable! Avoid at all cost!!!

I wore my vinal out on this one. I have worn through one cd as well - overplayed yet - not really - I love the different sounds. Aren't JT about doing different things - I dislike their records if they sound the "same as ....." either one of their own or a copy of a different sound around. It is very difficult to say that Peter Vitesse was just another pop keyboard player - he was/is a bit more special than that. I still hum european legacy 20 years on, the images that are produced for me are far more vivid and real than some of the other albums - but then I liked Walk into light as well.

It *is* very of its time, but there are somegreat songs on here. The problem is that there are also some dreadful songs on here - Tull albums from heron are usually a 50/50 mix of good stuff and awful stuff. You can get a decent little 35 minute LP out of all this though, if you're prepared to not compare it to the 1970s Tull. There are songs on here that command attention - perhaps an expanded version with acoustic demo versions would help the unconvinced come around. "Later, That Same Evening" and "Nobody's Car" are great songs. "Under Wraps #2" demostrates that the songs are (mostly) of a high eough quality, it's all in the delivery and if you're a fan of Anderson's writing then you should, after a few listens, be able to come round to a few songs on here. Not one to lend to your mates who are just getting into Tull though!!!

There was a time when I despised everything that was not classical music (J.S.Bach was my true and only God). Then came Rick Wakeman with his "No earthly connection" and, in the end, "Songs from the Woods", with its so often medieval sound. I was lost forever to the prog music. This album has nothing to do with the standard JT production. It's different. And I appreciated the change, at the time, as I had at the time of "A". I love "Walk into light", (Roger still hums "European Legacy", I snap my fingers on "End game"'s rythm). Therefore I like this album too. And the acoustic "Under Wraps" is a jewel in it's owm, as Dun Ringill was in Stormwatch: both sharing different rating from critics and fans as well. So, it seems it only depends on your "ear". A classical one might give a good "three star" to this album, which counts at least four very good songs (Under Wraps acoustic, European Legacy, Later..., Apogee). So, this album might not be a MUST, but for the above four good reasons, a SHOULD for sure. And, as always, my advice is rating an album after you have listened to it at least ten times: a lesson I learnt with Stormwatch

Good Grief, children. Get the picture here! This is a Cold War masterpiece and there is nothing like it ever made by any other band. Contextualization is the key, dear hearts. This is the fully realized work of a mature artist. The music captures the Zeitgeist of the Cold War perfectly and the lyrics are several cuts above the norm. A very European album.

A lot of people are here complaining about the "dated" sound of this album. For Tull to release an album trying to sound like 1972 back in 1984 would have been dated. Truly sit back and listen to the album, the songs are excellent, the instrumentation is just different from their norm. That's the progress part in progressive rock, not doing the same thing over and over again ya know. Vocally this was the last great Tull album, Ian says he never sounded better, singing these songs is what destroyed his vocal chords unfortunately. If he were to take the vocal/bass/guitar tracks and redo the album with real drums and less new wave keys it would end up being praised as the best Tull release since Broadsword.

Great Electronic-Rock Album (with Flute) containing almost every track a standout. Unfortunately, for many Jethro Tull fans....A Great or Bad Electronic album is a moot point. I however rate the music in itself, not based upon what the band "SHOULD SOUND LIKE" The music is catchy, the concept is interesting, the lyrics are well written and Ian Anderson's voice is better then ever. Jethro Tull's always been a band who changed up it's sound. Very few Jethro Tull album's sound alike. That's part of the band's charm. Above all, this album is fun. And most Jethro Tull albums underneath it all are just that, fun. Jethro Tull in themselves are a European Legacy.

Continuing Ian Anderson's 1980's fixation with electronics/digital synthesizers, Jethro Tull released "Under Wraps" in 1984, a sequel to 1980s awful "A". This album is even worse. Despite some memorable melodies, and the one good track (the thankfully acoustic "Under Wraps #2"), this album has not held up very well at all. While it may have shocked the Tull faithful in 1984 with its slick euro-dance-pop production (yes, it is still Tull), it fares even worse now with critical hindsight, and sounds quite dated. Peter John-Vettesee's synths are simply awful. Furthermore, this also was the lyrical nadir of Ian Anderson, as he abandoned the pastoral english folk motifs of his previous albums (which worked so beautifully), and crafted a sort-of concept album around the cold-war. The distinctly European dance-flavor of the album is hard to stomach, but surprisingly, it fared well commerically (in Europe, it was a failure in America). Of course no Tull completionist would be without this album, but all others avoid - 2 stars.

This album has a similar style to 'A' and 'Walk Into Light' but it is just not as good as those other albums. This album is not remotely progressive. I like a couple of tunes on this album. Lap of Luxury, Under Wraps #1 and #2 but most of it is not very good. I must disagree with those that compare it to Britney Spears....this is not great....but I still listen to it every once in a while.

Why oh why?? Jethro Tull has always been one of my favorite bands, but certainly not by the means of this album. Under Wraps is definitely JT's weakest effort, a lazy, uninspired, boring attempt to renew their sound. I don't mind if a band changes their overall sound - if they do it well. However, Tull did not. Peter-John Wettese was the worst thing that ever happened to Tull, although he's not the only one to blame of this terrible album.

With all the modern digital synthesizers and electronic drum machines at use, Tull abandoned their roots and tried to do slick and "modern" Euro-pop music. Needless to say, prog fans will find nothing of interest here. Under Wraps is also one of the most dated albums I've ever heard, perhaps in the 80's this sounded exciting and modern, nowadays most people would probably find it terribly funny and ridiculous.

All tracks except one are totally forgettable, the acoustic "Under Wraps #2" is the only positive thing I've to say about this album, it's a nice track. Oh! another positive thing; the flute. Although it's used quite rarely, it sounds fine.

Overall, Not even for collectors, please save your money and time and get the worthwile Tull albums. This is not one of those. Thank god for the 1995 "Roots To Branches" as it restored my faith in Tull.

In September 1984, after nine months of recording at Anderson's home studio, Jethro Tull released their most controversial album since A Passion Play: UNDER WRAPS. Working with new electronic used by Ian (together with Peter-John Vettese) for the first time on his solo album Walk Into Light (1983), was taken much further than one would have dared to imagine!

Not true that the flute seems to be completely out of place! It's in Walk Into Light, in fact, that it happens, due to the Ian free experimentation in his solo album. This last, if it's not evidently a "Tull album", whilst being, understandable, a Ian's type one.In progarchives we have not to judge hurried a work making a chart of all albums of that composer or band. We have instead to value the single one for its strict characteristics! In this way someone could legitimately argue that Aqualung not merit the 5 stars of the Masterpiece of PROGRESSIVE music (however I don't agree with all these reviewers yet!).In particular Under Wraps has offered the band members - Anderson, Barre-good electric guitar played, Vettese and Pegg - the time and opportunity to experiment with new forms and 'soundscapes' and work more intensively together in the recording process then had ever been the case before.That's nor mean that UW is not a "Tull album"! In fact here it's only the esterion part to change (instrumentation, not the fundamental arrangements' Tullian basis). The contributions of Martin Barre, Peter Vettese and Dave Pegg led to a very innovative and powerful album brimmed with original musical ideas. The album was recorded with the aid of a Linn drum machine, instead of a proper drummer which might be the main reason why there is no "live feel" to it. That's the ONLY thing I disapprove in this album!!!!! Sorry Ian, I don't manage to listen to you drumming, expecially with that electronic kind!! Only fter the completion of "Under Wraps" Doane Perry was invited to join the band as percussionist.

Most of the songs have a "spy" theme - as Barbara Espinoza states in her book "Driving In Diverse": "contrived espionage and intrigue abound" (1999, p. 89). I for one assume this not to be coïncidal. Ian loves to read spy novels. When this album was to come, it realized that the international political situation of the early eighties had been the context for this album. To put it more specific: the occupation of Afghanistan by the Soviet army in 1979, the meddling of the Soviets with the internal affairs of that country and the political reaction of the Western world (remember Reagan's Star Wars programme) caused the LAST BIG SPASM OF THE COLD WAR. In addition to these events there were several so called "spy scandals" in the early eighties, such as defecting agents on both sides and double agents revealing "their" secrets.

Like "A Passion Play" eleven years before, this album also divided the Tull-followers into two groups: either they loved it for its inventivity and its energy (in this group am I) or they hated it for sounding too artificial and not sounding anything like "their Tull".

Later, That Same Evening is a good one, one of the many with a "spy" theme. The construction of the lyrics and the imagery applied make the song almost film-like - as if one if watching a spy movie. This technique of visualisation and putting stories into a romantic setting can be traced in most of this album's songs. "Hard - it was hard to keep my mind on what she had to sell": is referenced to industrial or military espionage, esp. the illegal selling and purchasing of classified documents, plans, drawings, Another

Saboteur is another aspect of the "spy" theme: the hitman or hired killer, who eliminates people and destroy "hot" buildings for money.

Radio Free Moscow's title alludes to Radio Free Europe/Radio Liberty. Free Europe, Inc., was established in 1949 as non-profit, private corporations to broadcast news and current affairs programs to Eastern European countries behind the Iron Curtain ("promoting democratic values and institutions by disseminating factual information and ideas").

Nobody's Car is a film-like song breathes an atmosphere of threat, of being watched and followed constantly by agents who hide themselves in anonimity: "Mr. No-one at the wheel of Nobody's car." "Black Volga following me". Several models of Volga limousines were used in the Soviet Union by communist party officials, diplomats, and - as in this song - by KGB-agents.

Under Wraps 2 is a reprise of Under Wraps 1, with the same lyrics, however this time in an acoustic setting. It's the only acoustic song on the album and might be included to give a warmer, different kind of expression.

Apogee ("It's apogee") (or "apogeum"): the moon or ARTIFICIAL SATELLITES are orbiting the earth elliptically.

Other good ones are: General Crossing ("generalski"!!!), Heat and Tundra. Excellent 2005 remastered edition with the full video version of Lap Of Luxury. I hope you enjoyed too!

3.5 stars

Underated Underwraps.

The album that should have come after "A".

Why did Anderson ever make The Broadsword and the Beast album?

Anyway I must have been into synths at the time. A bit of New Wave didn't hurt anyone. I love the majority of the the songs on this album. "Saboteur" is an undisclosed gem as are about 5 others.

It's a difficult album but I love difficult albums. Someone said somewhere that "Underwraps" was like going to the dentist...or something along those lines and you know what(?) they are probably correct! But some people like going to the dentist.

Drill that tooth!!!!!!!!!!!!!!!

Very enjoyable album from Jethro Tull! This is not anything like their older works and perhaps that was a good change. More poppy and playful with an up to date sound, this album is one of my favourite from this year.

How would you react to an album where the band changed his style and moved forward their music into another direction? Resist? Accept? Adapt? It's really up toyou. For me personally this album did not come into my attention at all because by the time it was released I was still amazed with Marillion's "Script for A Jester's Tear" and "Fugazi" which dominated my Fisher Cassette Tape Deck player. It was the same year "Misplaced Childhood" was released. Tull was not in my what so called "Wish List" because I was so engrained with Marillion. I was totally Marillionized! But hey . Tull is one of great prog bands coming out from the seventies with powerful albums like "Aqualung", "Thick As A Brick" or the masterpiece "A Passion Play". So I did purchase the cassette, plaed it once and stored at my cassette rack and never been played again.

When digital era came out, I upgraded this album into CD (altogether with other seventies prog bands) without knowing the music quality of this album. I trusted that JT would never make any bad album. With CD format I did try to enjoy this album but failed to do so because I was not into the kind of prog folk music being turned into industrial electronic world. To me this is the kind of Ian Anderson's solo or JT "A" album. As compared to "A" this album is weaker. Conceptually, this album talked about issues on the Cold War so the songs are full of sentiments expressed which were topical for the time. As far as Jethro Tull's music standard, this is inferior than its other albums. But because this is prog band, I still keep the CD with me. That's why this album deserves two stars (for completionist, like me). Keep on proggin' ..!

Peace on earth and mercy mild - GW

Stay away. Stay far away. I feel compelled to write this review lest anybody make the mistake of listening to this record, much less buying it. I am a Tull fan but most proggers will want to fling this across the room. Yes, all Tull elements are gone. No folk, no baroque textures, nothing. The synth sound is probably the drippiest and worst that you will ever hear on a record (or at least on one that you may have pre-conceptions of enjoying) and it does not relent or change. Do not let the Jethro Tull moniker on the label fool you into picking this up. It might as well be an Ultravox 45 RPM set on 33 RPM. Tull gets a" get out of jail free" card for this one because they have made very good records and anyone can make a mistake. Listening to this album will bring you pain. The memory of having listened to it will bring you pain (especially if you are a fan). You have been warned.

This is the winner of the "Worst" made album by a top prog-rock band. Few other rock giants also had their shares of derailed performance--specially in the eighties. But none comes close to this classic bad album. This album sounds like teen synth band. The cover along with the suggestive title itself is so "disco" type and unlike Tull that you get an instant impression about what it might contain. Musically alll songs fail to live up to any kind of expectation. A total stinker.

The greatest single attribute that makes prog so appealing is that theirs not always complete total consensus , one way or another. Some hate YES' Tales from Topographic Oceans while other adore it . Same for Tull's A Passion Play and countless other examples , all densely described on this site. This much maligned and abused album has been a punching bag , for hard core fans especially, ever since it appeared back in "New Wave" days, mainly because it dared to "sound different" , eschewing the medieval folk- troubadour approach for an experimental synth, e-drums/programming loaded set of songs which perhaps would of been better received as an Ian Anderson addition to his solo "Walk in the Light" , as both deal with Cold War issues (hence the icy electronics) , just like Camel's Stationary Traveller. Both are albums I deeply enjoy, irrespective of their other, more classical releases, before and after. So, I must admit, I liked Under Wraps a lot (Proggers are a rebelious lot , wot?) and I agree with Ian Anderson that the songs and the melodies are top-notch, but the arrangements are what make Tull purists cringe. But we would all be pretty "Thick as A Brick" if we expect rehashes of the masterpieces (Incidently, Anderson only recently started to rekindle his love for this "Jewel") . Many love Heavy Horses and Stormwatch, two albums I have a hard time getting into. Intricate music affects intricate listeners in very different ways, where mood, atmospherics and attitude can polarize with utter intensity.That's the beauty of music= how personal does it get???. I will grant credence to the argument that the percussives would of benefited from a real drummer , adding a warmer, less plastic palette of sound. Maybe one day. I do not like comparing albums because its like rating your kids, each has their own personality, its quirks and its character. To slam an album because it went off on an unappealing or unpopular tangent is unfair especially with Prog where experimentation (failed or succesful) is in the ear of the beholder. In closing, Under wraps is light years more entertaining than anything on the radio since the 80s anyway. Love it or hate it, its still good music. I have opened my umbrella , ready for the downpour of derision from the ultra fanatics. I'm Under Wraps! 4 "Q" spy gadgets

UNDER CRAPS UNDER CRAPS UNDER CRAPS

One could have though that the "A" experience was an accident in the wonderful serie of albums the Tull had produced over the time. They did produce a good album after that ("Broadsword") so, shall we get another good one again ?

Unfortunately, the answer is no : we get the same crappy synth / pop / disco songs as with "A".

No highlights on this album

No great fluting

No melody

No good instrumental sections

No nothing.

Do not buy this one. The worst of all is that I bought it twice (yes, man : I forgot I already had purchased it - probably because I only had listened to it very few times). And there is no way I would offer this copy since I really don't want neither to offend anyone, neither to give a poor impression of such a great band as Tull.

What did you do again to us Ian ?

One star.

UNDER CRAPS UNDER CRAPS UNDER CRAPS

This surely is the poorest album Jethro Tull has ever made. The great influence of keyboard player Peter John Vettese is not such a good one. The sound is weird. This record, far more more than A, does not sound like Jethro Tull music. Not at all. Too many synths, too experimental, too few flute or acoutsic guitar.

Ok: A can be considered as a particular electronical experiment, Broadsword And The Beast as the perfect mix between Classic Tull and modern music. But in Under Wraps there is a lack of melodies and ideas. Just listen to Radio Free Moskow or Genral Crossing, which among Jethro Tull's worse compositions.

This album should have been an Ian Anderson solo album, just like Walk Into Light. Or maybe, not even that.

Alright! Someone plug in the drum machines! It must be Under Wraps, the OTHER most misunderstood record in Tull's history. It doesn't deserve all the hate that's flung at it. Of course, it's also a really crumby record that no one should own or even like. But it is not, I repeat not, a sell out. Ian was WAY too stupid to ever actually sell out.

Coming off the medieval synth high of Broadsword, Ian figured, what the hell, we can go ALL electrono for this one! So he turned a lot of the reins over to Vettese, which was not a good idea at all. The result? An electro record with the progressive ideals of any of Tull's old junk, but without the sturdy backbone of either Broadsword or even A. It's still a concept album, it's still got sound effects and tracks that flow into each other, there's even a six minute track (which was, oddly enough, not bad). Under Wraps is just really...really...annoying.

Now, it is common knowledge that one of the first three tunes is the best (all penned by just Ian. Coincidence? I think not). "Lap of Luxury" is a fairly catchy number, even if it is laden with synths. "Under Wraps #1" is even catchier, with great vocal delivery. "European Legacy" is my favorite of the load, since it's the most "natural" sounding, what with the flute lines and Spanish guitar. But from there, it all goes downhill.

"Later That Same Evening?" It just sort of drones on for a while, and some of the encoded vocal effects are getting kind of irritating now. "Saboteur?" A repetitive, dorky, hyperactive electrono rocker. "Radio Free Moscow" plays some artsy tricks with the sfx, but at heart, it's just another dull plodder. "Astronomy" is another lame rocker, complete with hyper keyboard effects thrown in, but at least it closes with some classy Ian vocals.

Aside from some goofy pronunciation, "Tundra" is just as useless as the rest of 'em. It's another slow, tuneless track. "Nobody's Car" actually provides us with some flute (a Tull album with flute?!?) It's a little faster, and...hmm. Is anyone else starting to notice a pattern here?

Now, what stops me from rating this album any lower is the next two songs. The first, "Heat," is an okay rocker. It's pretty driving, with some scary vocals. It's almost headbangin'! Too bad there's a heavenly guitar solo in the middle (that not even David Gilmour at his most generic would touch) that spoils it. But next is an album favorite, the gentle, sad "Under Wraps #2." It's a "Cheap Day Return-esque" take on the first "Under Wraps." Some people complain that Ian just tossed in an acoustic version of the earlier song so that old fans would say, "Hey! He's still got it!" I say, so what? "Under Wraps" was one of the better songs, and "#2" is gorgeous. There's some actual emotion in it, that's what I care about.

But then we go right back to the same ole same ole with "Paparazzi." It might actually be the poppiest number on the record. Actually, scratch that, the vocals still make it too weird, and it's way too moody. Damned if I can remember anything else about it though.

"Apogee" is even more repetitive than usual, which is either something to be proud, or ashamed of. Wait, I get it now! It's about astronautics! Trippy astronautics! Ha-ha! Tull conquers space rock! Wish they'd made a better attempt at it.

"Automotive Engineering" at least provides us with some freaky vocals, and you get to hear Ian use an ethnic slur! Not bad, eh? Well, it's also the dorkiest number of them all, complete with blaring start 'n stop synths. Album closer "General Crossing" is pretty aimless, once again the only redeeming factor being Ian's amusing, off the wall, layered vocal delivery. Although, in this case, some might find them to be a little too weird and overbearing...

Alright. I've heard the record enough. But I still say there's nothing really popish about this thing; it's still too complex to be played on your local hits station. If you need to call it something, I guess you could call it baroque synth pop, since there are all those vocal harmonies Ian layers over himself and the keys. It's like if the Beach Boys had a Casio and a flute.

Of course, just because Ian retained his complex image doesn't mean the music is good. Most of it is samey, dull and unmemorable, although it's not quite without atmosphere. Some songs (say, "Under Wraps" or "Heat") actually create an air of spy theme paranoia that is sort of effective. But it's almost not worth looking, not when your lineup is so poor. Pete "Lord of the Synths/Drums" Vettese, the less said about him the better. I guess he actually was being restrained on Broadsword, here he really overdoes himself. He lacks Jobson's technique or Evan's discipline, or even David Palmer's command of the saxophone (we're assuming). Where'd they find him again? Devo?

But Martin and Dave aren't much better; Dave has almost totally adopted the "poppin' bass" style of play, and Marty's guitar is taking a turn for the 80's metallic. Bland 80's metallic. Luckily (or unluckily, depends on how you look at it), you can hardly hear them most of the time.

Ian is still okay though. The flute and acoustic never let me down, not that you can ever hear that either. His vocals are the best aspect of the album; they're all over the place, like some kind of Peter Gabriel wannabe. That's probably a really poor comparison, but, you know. I won't even begin to discuss his vocal tricks here, because there's so many of 'em. If the record deserves repeated listening for anything, it's that. And hey! I saw some saxes in the liner notes! Where's my sax?!?

I don't need to bash this record any more. I think I already did enough of that up there. Besides, it could have been worse; what if every song had had a spoken robot intro? So, if you have had the misfortune of buying this thing (and may Valhalla forgive you), just focus on the (few) catchy numbers, the (fewer) folksy ones, and Ian's crazy vocals. You'll make it. Probably.

(Well, wadaya know! Ian's still into video. The Under Wraps remaster comes with a bunch of extra tracks that make been inserted into the main mix, so if your album didn't have all the songs listed above...well, just consider yourself lucky. But with this thing you also get a music video! It's of the song "Lap of Luxury." Yeah. It's...well, it's amusing, Ian's camera mugging, and at least it's not "Automotive Engineering" or something, but I'd hardly call it an essential bit of prog rockin' cwazy Tullery. Ain't no Hare what Lost His Spectacles. I mean, if you adored Under Wraps, you'll appreciate it to be sure, but if you're still sane, it's not much of an incentive. No change.)

What would Jethro Tull sound like if he were lobotomized? Well, now we know. Anderson, Barre, Pegg, and Vettese remove all of the wit, prowess, and fun of Tull's sound so well you could almost swear they wanted to. For this album, Vitesse was given control. Charged with this great duty, Vitesse promptly threw monkey wrenches everywhere he could aim. He decided to use a drum machine, which was the first red flag. Drum machines belong in only the heaviest and most technical of metal, never in light folk. Ever. Jot that down and never forget that.

"Lap of Luxury" is usually singled out as the best song on the album. Being the best song on Under Wraps is akin to being the smartest child in alternative school. I honestly can't say it's the best becuase I don't have the mental fortitude to listen to this album enough times to make comparisons. I'll spare you (and myself) a track-by-track review because they all sound the same. If you've heard one crappy track off of Under Wraps you;ve heard every crappt track off of Under Wraps.

As a matter of fact, I wish this album had stayed under wraps. I wish they had taken the master tapes for this and done to them what the U.S. governement did to the Ark of the Covenant in Indiana Jones: seal it in a box, put it in a huge warehouse, and let it remain lost in a bureaucratic quagmire for all eternity. It isn't as bad as ELP's Love Beach, but it comes close. Do not adminster this album to children under the age of 10.

Grade: F

IAN ANDERSON, THE NEW SIMON LEBON!

I don't think to compare these 2 guys would be fair to .......SIMON LeBON as he is a product of his time and was doing what he was supposed to with better talent and success with DURAN DURAN than IAN ANDERSON did with UNDER WRAPS. This album came 2 years after the sublime BROADSWORD AND THE BEAST, and what a difference 2 years can make!! This is not JETHRO TULL of good old sake times, the one we used to like.

This is synthetic plastic JETHRO TULL with no real drummer, using only a synthetised drum machine and galore of 80s outdated sounding keyboards. For the first time, IAN ANDERSON share writing credits with PETER VETTESE on 8, yes 8 out of the 15 tracks of this album. This is easy to blame the keyboardist for all evil, but the ultimate responsability lays on the shoulders of IAN ANDERSON. JETHRO TULL is his own personal ship and as the captain, it's up to him to decide on the final course.

Another downside with UNDER WRAPS is the voice of his leader that has lost any strength and personality which was particular of the JT sound. Anderson is really trying hard, but it can't no more. We all know that JETHRO TULL would take a break in order for ANDERSON to rest and fix his voice.

The most dumbfounding part is when i read the leader comments concerning UNDER WRAPS in the booklet of the CD.He clearly likes this album, would even like to re-record it with real drums and better keyboards. In a way, it can only better especially if his voice is back now to his old strength. But i don't think the quality of the songwriting, or lack of it,would necessarily improve the album. Also what is amazing is that IAN says that his voice is as good as ever at the time.No, he is really forcing his very limited range; Nothing to worry SIMON LeBON about losing his beautiful groupies to IAN.

The ''king'' of this album is of course, keyboardist PETER-JOHN VETTESE who is all over the place with his new-wave synths that sound horrible now to modern ears. MARTIN LANCELOT BARRE do some licks , afew riffs here and there but all mixed with the rest of the keyboards. Also don't try to learn ANDERSON flute playing style , UNDER WRAPS is not the album for that. Of course, you already have understand that mandolin, lute and other medieval string quartet are not part of this package.

I am not going into details about each song, as they all sound quite the same; mid-tempo rockers.Only NOBODY'S CAR can remind me of an old JT rocker but that's it and this not even close. Oh! yes there is ONE acoustic track, the very short UNDERWRAPS#2, but nothing to jump to the ceiling! The lyrics are also kind of strange: it's all about spies, cold war, radio Moscow, sabotage ,credit cards and ''automotive engineering''. A very modern JETHRO TULL indeed!! no minstrel lost in the gallery, no hunting girl in the vicinity!

I wouldn't say IAN ANDERSON was trying to sell out, as he knew 15 years girls would still prefer the bodies of SIMON LEBON or DAVE GAHAN than his.Let just say, JT tried something new and they fall flat, hard on the floor. I own this album for JT discography collection purpose, listened to it again today twice for this review, but i don't think will be a next one.

1 STAR!

While The Broadsword and the Beast and Ian Anderson's under-rated solo effort Walk into Light pointed in an increasingly electronic direction, the opening bars of Lap of Luxury with the drum machine to the fore were a shock to many. Indeed, if there is a divisive Tull album this it. But it is progressive and experimental: this is the band exploring what was for them new sounds and ways of making music, something they wouldn't do again until 1995's Roots to Branches.

Yes it lacks the warmth and atmosphere of Broadsword, but it is exciting, with songs like Heat and Nobody's Car charging along. There are some beautiful melodies - Radio Free Moscow, Under Wraps 2 stand out - and some great guitar work by Martin Barre.

Its a good example of a early eighties British electronic music, a sort Ultravox or Depeche Mode with added electric guitar.

As everyone knows, this is a controversial JT album (to say the least), but it does have a lot going for it, and I intend to speak up in its favour.

Initially, having been bludgeoned by 'Walk into Light', I heard this and thought oh no, more of the same, but over time I had learned that JT releases usually need more than just a few listens.

Additionally, Martin Barre has repeatedly declared this to be his favourite Tull recording, so I tried to shut off the part of me trying to hear the traditional JT that I knew and loved, and hear this on its own terms. And yes, I can see partly see Barre's view, although I do wonder a bit about this being his MOST favourite album.

It's quite electronic, the beats are synthetic, but apart from and inspite of that, it's got a warm feel and there are beautiful melodies that do need some effort to get acquainted with, being pretty buried in parts.

Additionally, this album has a few tracks that rock, and hard. Take European Legacy or Radio Free Moscow. If these songs were produced with a more rock-band type instrumentation, they would raise the roof, but in a weird way these rockers are concealed under a layer of electronica that make them quite hard to detect.

But other tracks are very interesting and intriguing too, Saboteur and Astronomy, for instance mean a lot to me now, but only after a lot of effort, just as the other tracks do. Interestingly enough, there honestly isn't a track here that I don't like.

All in all, I would declare this the most difficult Jethro Tull album to get into, and I spent more time on this than on Passion play when I originally got acquainted with that one and that's saying a lot!

I REALLY like this album now, being patient has paid off, and I rank it considerably higher than Rock Island or JTull.com.

Shame about its reputation, but I feel it deserves a shot in the arm here, by me giving it four well deserved stars.

By 1984 the record buying public could expect anything from Jethro Tull who by this time had undergone more than a few stylistic deviations. 1980s "A" LP which was met with a considerable degree of dissension from critics and afficiados alike without a doubt gave Jethro Tull`s fearless leader Ian Anderson the incentive to return to somewhat more traditional Jethro Tull conventions on 1982s Broadsword & The Beast album. While this move was commercially safer for a band like Jethro Tull, Anderson was drawn more and more towards the futuristic sounds which were emerging from the likes Thomas Dolby, The Simple Minds and The Cocteau Twins . This, combined with a desire to break away from the mould of the seventies strengthened his resolve to have another essay with the trends of the eighties with Jethro Tull`s next project, Under Wraps, which would again run the gauntlet of discourse. Notwithstanding any previous critiques, the album is not the monumental catastrophe that it is oftentimes construed to be by some detractors who couldn`t come to terms with Jethro Tull within the context of the 1980s at which time just about the only band that was having any success with 70s progressive rock convictions was Marillion.

The work is in fact arguably one of the most lyrically solid of the whole Jethro Tull catalogue, exploring cloak & dagger cold war themes of intrigue and suspense dripping with imagery from such novels as The Spy Who Came In From The Cold, Gorky Park and Funeral In Berlin. In order to convey the double-crossing world of world of femme fatales, double agents, traitors and assasins, Anderson looked towards cutting edge technology which was becoming available to artists at the time, particularily in the field of computer and digital recording technology which allowed for an appropriate cold clinical feel to the muisc suitable for such frosty cold war themes rather than the warm pastoral auras of the folky Jethro Tull of the past. Although some of these earlier elements are assimulated here, albeit in updated form, some of the music on Under Wraps fulfills Anderson`s designs for this new era and some of it fails miserably.

However one looks at it, two conspicuous factors contributed to the overall outcome of this highly experimental album, namely the absence of a live drummer in favour of a Linn drum machine (programmed by Anderson himself) and donated state-of-the-art keyboard products coutesy of the Fender Rhodes company. This gave Peter Vettesse, who provided the lush keyboard backdrops on Broadsword & The Beast, virtual artistic carte blanche which resulted in a case of the-kid-in-the-candy-shop syndrome at times. Glaring examples of this over-indulgence occur on tracks like Paparazzi, Automotive Science and Apogee, the latter of which is introduced by a garbled voice of a technician running down some sort of checklist which briefly captures the mood of a space mission. Jethro Tull meets Hawkwind? Something which could have worked here but falls apart on the launch pad before it can gain any altitude. But it`s not as directionless as Astronomy which again seems to have some potential by the very virtue of its futuristic lyrics and hints of a Tangerine Dream-like synth-pulse, but grinds to a halt morphing into a bad Euro-pop song. It`s a pity that Anderson didn`t capitalize on some of these fragmented moments of possibilities which he stumbles into not only here but throughout the work. Other tracks which suffer from Vetesse and Anderson overdoing it with the new toys include Nobody`s Car and Tundra the latter of which didn`t even make it on to the original vinyl release.

What does save Under Wraps is placing the four tracks that at least have some distant relationship with the Jethro Tull lineage at the beginning of the work. The opening upbeat numbers Lap Of Luxury and the title track nod back to the seventies with updated propensity. Lap Of Luxury was made into a video which recieved extensive airplay on MTV and Muchmusic in North America and is actually a passable eighties pop song with the "Nouvel Tull" touch as Anderson put it at the time. Though not as infectiousl as in the past, Anderson`s ubiquitous flute lurks throughout the work and is flaunted to reasonable effect on the third track, European Legacy which with it`s Spanish flavour is arguably the best piece on the album which evokes the plight of a defector. Other tracks which boster the work that appear later on are Heat which features some razor sharp guitar from Martin Barre ( who lists Under Wraps as his favourite Tull album! ) as well as Under Wraps #2 which captures the romance and intrigue of a dangerous liason returning to some acoustic guitar work.

In the reflective liner notes from the 2005 remaster ( which also includes the Lap Of Luxury video ) where Anderson gives the album a mini review himself, he expresses a 20/20 hindsight yearning to re-record the work with a live drummer but at the same time maintaining that his desire was to be more in tune with the times. Hence, Under Wraps is most definitely not a Jethro Tull album that will have any immediate dramatic impact especially on fans of the early seventies material, but given time there are some outstanding qualities to be found particularily the lyrics if one can remain impartial to some of the overblown Linn drumming and tawdry 80s Keyboard flash. Anderson does demonstrate that he could bring Jethro Tull up with the times here with some experiments that worked and some that didn`t. Bear in mind the harsher critiques of this album have come from those who were expecting more of a continuance of the previous Broadsword & The Beast album which was even beginning to sail into Spinal Tap waters when it was released in 1982 the very thing that Anderson wanted to avoid.

Rather than being written off as a casualty of the times, Jethro Tull should be commended here for their adventurous abandon, not relying entirely on past glories and laurels even if it meant courting the acrimony of their public. Nonetheless, Under Wraps is admittedly an acquired taste.

An album very much of its time

While Jethro Tull's classic albums like Aqualung, Thick As A Brick, Minstrel In The Gallery, Heavy Horses, Stormwatch, and even the previous Broadsword And The Beast, sound absolutely timeless to this reviewer's ears, the present album sounds very much of its time. This is a feature that I think Under Wraps shares with the band's two first albums from the late 60's (This Was and Stand Up). Those two albums too were very much of their time. One could perhaps even say that Under Wraps sounds more 80's than it sounds like Jethro Tull, if you know what I mean! I would also say that Under Wraps was the least good Jethro Tull album since the band's 1968 debut.

Under Wraps is the most electronic sounding Tull album, dominated by synthesiser sounds and drum machines. The guitars and flutes take a back seat throughout. This makes the total wall of sound rather thin and the warm and organic feel of albums like Heavy Horses is completely absent here. Ian comments in the booklet to the remastered CD version that he one day would like to re-record this album with genuine drums and less dated keyboard sounds. That could indeed be a large improvement, but I doubt that it could be made into a much better album than it is because the material is rather weak.

There is no doubt that this album belongs to my least favourite Tull albums, but I do not hate it as such. It surely was a major let down after the excellent Broadsword And The Beast and the very powerful string of albums that the band released in the late 70's, but it is not as truly awful as some people say. It should perhaps have been released as an Ian Anderson solo album instead of as a Jethro Tull album?

I would recommend this album only to fellow fans and collectors to whom it surely is an interesting if frustrating listen

Only recently I had the opportunity to hear this album in full, and I´m very disappointed. At the time I remember seeing the video clip for the first track on TV on a sunday afternoon, Lap Of Luxury, and I thought it was a fine song. Not great, but very fine anyway. I still do, but the rest of the CD is not par to the opener. There are few of the features we are so fond of Ian Anderson on this algum: the group dos not appear much, there are almost no acoustic guitar, the songs are not the most inspired. On the other side there are too much synths and drum machines, something totally unsuitable for the JT sound.

I guess it was a nice try to sound a bit more modern and up to date for the time, but it didn´t work. And it seems even more odd if one remember Under Wraps came just after the excellent and successful Broadsword and The Beast. Worse: while the latter is still a fine album after all these years, Under Wraps nowadays sound dated and forced.

In the end I found this CD to be a mistake. It did not age well and it´s only worth as an experiment. I still think Lap Of Luxury is a good track. The rest is for completionists, collectors and hardcore fans, in this order.

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.

Tull challenges their fans. Fans fail.

Jethro Tull's best album of the 1980s (and their best album ever according to Martin Lancelot Barre....not sure what he's smokin') was a huge improvement over the phoned-in disaster that was "Broadsword and the Beast." "Under Wraps" came out in the fall of 1984 as I was starting my senior year in high school, and was merely tolerated by the group of us who went to see their concert eight weeks later in Saint Paul. We were there to see the classics of course but had to endure "the new stuff" which was merely the time for many guys to find an out of the way place to smoke as much pot as possible before the good stuff was performed. Looking back I'm glad I abstained that night as it gave me the opportunity to take in the unique stage show, though at the time I was guilty of being one of those "failed" fans who resented this material. I realize now the music on "Under Wraps" is pretty good on its own terms, despite its creator's attempt to kill it with production overdose. Anderson also likes the album very much now and would like to re-record it with more warmth and a human drummer, but I'm sure such a project will be unlikely to see light of day. Either way, I'm happy that time and a little patience allow me to find the qualities in certain albums that were lost on me in my more musically reactionary teen years.

Ian describes this classy work as "a largely electronic album of songs mostly devoted to spies, secrecy and subterfuge." And the stylish approach and album cover work beautifully to support the feel of the lyrical themes. Even the sound would have been fine had they just softened it a little bit, it is so harshly synth-tronic in a cold way. But the reason the album succeeds is that unlike Broadsword, these songs have some life, and Anderson believes in them---you can hear the difference in his demeanor toward the music. The more in-depth collaboration with PJ Vettese yielded quality songs with diverse arrangements and plenty of neat little quirks going on in the background....sound samples, violins, ambitious vocal dubs, etc. Side one is particularly strong with the driving single "Lap of Luxury" and the steamy, violin laced "Later that same evening." The title track and "European Legacy" are as fresh and interesting as they were live that night. Side two has a few duds but the original vinyl track list is much preferable to the expanded CD version, which adds in the cassette leftover tracks that should have stayed off the remastered edition, or at the least been put at the end as bonus tracks. This recording works better at 45 mins than 60, to me. While I can't agree with Barre that this is the best Tull album, it is one I enjoy very much and it is sadly under-appreciated by too many Tull fans who can't accept the production. I think it sounds vibrant and unique and I much prefer it to other period material like 90125. Give it a chance. Try to listen past the production and hear what's going on underneath. I know it isn't always easy but you might just fall for the lady under the sheet.

Oh dear! True 80's influences affected this album with the " Glam" tag. In retrospect it is not as bad as many reviewers make out, but unfortunately poorer material from the 80's irrespective of artist, dated very quickley. This is indeed one of those. The songs are just a mish mash of sounds and if I had to highlight one specific song over another, I would be lying. Yes the keyboards are mostly to blame but Dave Pegg still manages to salvage some quality sounds with his bass and of course Anderson's vocals are as usual pleasant on the ear. Barre's contribution also not much to call home about.

Anyway if you are a JT fan you will own this and the most ardent fands will maybe even like it but be warned it is rather low on the richter scale of prog, maybe a 3, so don't expect many tremors. Two stars.

Ahhhh...the much maligned UNDER WRAPS. Personally, there is much here that I actually like. It is far beyond the old classic folky kind of Tull, but it is an interesting electronic form of Jethro Tull. The songs I like on this are : "Lap of Luxury", "Under Wraps #1", "Later That Same Evening", "Radio Free Moscow", "Astronomy", and "Apogee". The rest are pretty much throw aways. The bonus track, "General Crossing", also grabs me for some reason. However, drums would have been nice instead of the drum machine, and possibly Eddie Jobson could have contributed to this as he did on A. All in all, I can see where many people do not like this. But, for me, it is very listenable if a few tunes are skipped. 3 stars. It is better than a few other Tull release such as ROCK ISLAND, anyways..

I recently copied my entire CD collection including the good, the bad, and the ugly so I could sync my entire CD collection to my Ipod. This would fall into the ugly category. I haven't listened to this album for years, but I forced myself to listen to it again today just to see if something had changed over time, I had been enjoying listening to some early JT lately, so this was particularly painful to listen because it probably sounded even worse by comparison. I first bought this CD after seeing JT perform live during the Under Wraps tour at the Rosemont Horizon in the Chicago suburbs. Let me first say that their live performance was amazing, even though it included some tracks from the Under Wraps album, as I remember Ian Anderson begining the concert from the rear upper deck corner of the stadium playing the flute with the spotlight upon him and then working his way through the aisle to the stage. I also remember the rest of the band rising up from underneath the stage as they were initially Under Wraps. Their were several other unique special effects to that concert and they played all their classics and sounded abolutely fantastic. Definitely one the best live concerts I have ever witnessed. So with that background, I decided to purchase this album. What a let down it was when I first heard the studio version of Under Wraps. I was expecting to hear JT and thought I was hearing a poor version of DEVO. It was as if JT had devolved into some 80's digitized pop band with horrendously cheesy lyrics and the beautiful sound of one of my favorite bands had vanished into oblivion. After listening to this again today, I felt it sounded even worse then I first remembered. I honestly thought I could find one track to rave about here, but no, there is absolutely nothing to redeem this album from the waste bin. JT had fallen into the same trap that so many other once great 60s and 70s bands had when they forgot their roots and what made them successful in the first place in favor of trying to sound more modern, more digitized, and ended up sounding cold, empty, and void of whatever soul they once possessed. A very sad development for a once great band. I would give this a negative 5 stars if that choice was available here.

The worst thing Jethro Tull ever put their name on.

Even a die-hard Tull fan (ie me) would find this more useful as a frisbee than as a record (and I have the CD so even then it would be relatively useless). Even if you like 80s synth pop, this is still second rate (I've always maintained that Frankie goes to Hollywood's Welcome to the Pleasuredome is the best album of this genre.) Tull were not a synth pop band, and at this point they were not a prog band or a folk band. I don't know what they were but they were not something that I enjoyed.

The sad thing is that are actually some good lyrics and ideas on most of the songs (I'm using my memory here, as I've never listened to the album after the first time) and Ian Anderson's vocals are perhaps some of his strongest ever but the sad fact is they are wasted here, because the music let's them down.

The instrumentation seems to consist mainly of digital (ie crappy) synths and a cheap sounding drum machine. Let me tell you: 20 minutes in a room with the same monotonously pounding drum machine is enough to drive me crazy, i dont know about 40 (I don't know how long this album actually is). The style may have made Under Wraps difficult to listen to, but the drum machine is what makes it unlistenable.maybe it would have been better if someone had told them how to program it first. Arthur Brown utilised a drum machine better on Journey, ten years earlier! No, I don't think Peter Vettese killed Jethro Tull, in fact I think he kept the band breathing (just barely) through a difficult time. He was trying to keep the band sounding up to date with his keyboards, but ultimately, this has decayed much faster in the face of time than any other Jethro Tull album.

None of the tracks stand out enough for me to pinpoint any highlights, who knows, it might have gotten better after I gave up listening (although I sincerely doubt that). The tracks are all too similar to make this at all interesting. The only track that gives us a respite from the drum machine is the acoustic Under Wraps #2, but even this is weak compared to other acoustic Tull moments.

the lyrics and vocals are the best things about Under Wraps, but unfortunately the rest of the features are so nauseating that you will never really appreciate these because you will not want to listen to it again. One gets the feeling that Anderson knew this would be a flop and therefore put his heart and soul into his lyrics and vocal performance to try and salvage it. It's bitterly ironic that it was performing the demanding vocals for these songs on the tour that followed were what caused Anderson to lose his voice, which never be quite the same again...

So remember, Tull is timeless, this is not

AVOID

Retro drum machine and synth ? the worst of the 80s has a curious kitsch charm.

An almost intolerable 80s synthpop analogue sound infiltrates Jethro tull's genius to the point of nausea. Yet this has a unique charm in that it is definitely no holds barred 80s. The album lineup is Ian Anderson on flute, acoustic guitar, vocals, Martin Barre on electric guitar, Dave Pegg on bass, Peter-John Vettese on keyboards and machine on drums. This is the worst part of the album. The drum machine, synth, and echoed vocals are all here and melodic ascerbic choruses. Some songs save this from abomination status.

I like 'European Legacy' a lot, especially the flute phrases. The lyrics are interesting; "Round the castle walls, about the Highlands and the Islands, the faint reminders stand, Visitors who took a hand a thousand years ago, or so."

'Lap of Luxury 1' is infectious but very retro these days. It is like Ultravox or Duran Duran meets Tull and it is a challenge to sit through this. I will admit it has some fun elements in that it is so ridiculously retro these days. Anderson sounds fine on vocals but he is completely out of the box. I still admit a guilty pleasure listening to that synth as I was a child of Visage, Ultravox and Depeche Mode, however it doesn't really suit Tull. He was never a new Romantic after all.

There is no prog on this album at all so it really is one to approach with caution. It is more entertaining than innovative. The entertainment factor is due to the nostalgia of the 80s sound. It certainly will not appeal to average prog fans or Tull addicts as it is too different on almost every level. Having said all this it is still a worthwhile listen even if only to check out what was happening in the 80s music scene. I especially like 'Astronomy' with very Depeche Mode synth sounds and spacey effects. It is weird to hear Anderson sing like this but the music is cold chill synth and works for me. The instrumental break is abysmal programmed synth from Peter-John Vettese. By the way Martin Barre is incredibly restrained and nothing like his usual brilliance.

'Apogee' is okay and has a great intro with spacey voice over and a theme about drifting in space. The slower pace and odder time sig is welcome. But it is still inundated with chinking drum machine and plink plunk synths and is too long for its own good. 'Automotive Engineering' may be a reference to Gary Numan's 'Engineers' but is nowhere near as good. It is choppy and mixed coldly with stuttering synths and b-b-booming bass, and clunky analogue. The flute is staccato and just as chopped. Barre's guitar is almost invisible. For some reason I like this as another weird curio on the album. It could have been recorded by any breakdance artist but its kind of cool with Anderson's vocals and that driving flute and synth.

Now for the worst bits and it is unfortunately the rest of the album.

'Later that same Evening' is a real culprit of drum machine tinsel and synth saturation. 'Sabatoeur' is simply awful, and there are other cringe worthy songs. 'Radio Free Moscow' is a parody of Radio Free Europe and Voice of America that claimed to be voices of democracy but Ian is stating it was all to no avail. This song states the untruth of the so called voice of the people. The song itself is full of drum synthetics, electric synths and soft guitar lines. It is okay as a curio but horrible musically. 'Tundra' should have been called 'chunder' as it makes me want to barf listening to this trash. 'Nobody's Car' is perhaps more like John Foxx's 'Nobody's Driving' than Tull but it is completely throwaway. You won't find this song anywhere else thankfully. 'Heat' is really annoying, especially the phrase "get out of the heat" repeated. The fast pace makes it even more sickening with that 4 on the floor time sig, and chilly synth. The multi tracked vocals are abysmal. When the synth solo starts I am completely underwhelmed by this filler effort. By the time barre's lead solo begins it is too late to save this. The album is full of filler tracks such as the appalling sacharinne fluff of 'Under Wraps 2', and cheesy 'Paparazzi' tripe.

Overall this is perhaps the last album one should try for Jethro Tull but it has some moments preventing the 1 star rating for me. As I said this is really only woirth hearing for the nostalgia retro music and nothing else.

A very different sounding Jethro Tull - very electronic rock sound not similar to what came before. "Lap of Luxury" - I enjoy the sound of the track although I have almost got to take off my old Jethro Tull hat to appreciate this. "Under Wraps 1" - is that a beat machine I hear as opposed to drums? Oh Dear! Interesting track though. "European Legacy" - I don't mind the sound however as I said before I have to lose the Jethro Tull Prog hat. "Later that same evening" - I enjoy this track a great deal. It has a dramatic mysterious feel. "Saboteur" - straight ahead rock track in the 1984 vein. "Radio Free Moscow" - electronic driven rock again - lots of electric squawks and squonks. "Astronomy" - Nothing special at all. "Tundra" starts off sounding like good UK track however that morphs into a kind of ooooooooo electronic rock again. I don't dislike it however. "Nobody's Car" - what have we here? hot damn! more electronic rock. "Heat" - A bit of a rougher sound before almost turning Disco. The mid section of the track appeals to me but it's kind of short lived. "Under Wraps 2" - This is a track that I quite like but it's really short lived. "Paparazzi" - This is kind of sweet. "Apogee" - Not bad. "Automotive Engineering" - doesn't grab me in the slightest. "General Crossing" - again electric squawks and squonks - by this time I'm tired of the album.

Was this Tull's attempt at Dance music of horror of horrors - Disco? The mid 80's weren't kind to prog rock at all. Electronic drums do not do it for me in the first place. There seems to be a theme of espionage running through this album. This isn't a poor album to me but it's not what I would have expected from Tull. I'm going to shock myself and give this one a 3 rating - in a strange way it is an appealing album to me because although it represents what is bad about what can happen to a prog giant it is pleasant enough and if I'm in the mood for some compulsive foot tapping a may play this. It isn't bad at what it attempts to do but why oh why did Tull have to be the band to do it?

I dare you all saying Under Wraps is better than Broadsword and The Beast (both are 80s failure). The band recorded using drum machines, synth, and the progressive was forgotten. Even the folk Jethro Tull side was left behind. I think this is commercial music, different from the futuristic A album, this one is full of fillers and annoying tracks. Ian Anderson was trying to sound modern but it didn't work here. The flute and guitar are almost nothing into this album. The "concept" is about spies. Under Wraps is the most far away from any Jethro Tull album into their own discography.

Looking in retrospect Under wraps from 1984 is the worst JT album in theor prolific career. JT is toying now with eclectronic synths , drum machines, etc, a thing that they've started with A album wich is very strong IMO, but Under wraps is absolutly cold and flat typicaly cheesy 80's-style sound. Even for a die hard fan this is the lowest they can go. Some good moments I can trace here, I mean still can listen to these pieces are Under Wraps #1 and Saboteur and maybe Astronomy , the rest are dull and with no real intrest for a prog fan. 2 stars for this one, this is easy synth pop album with Anderson's flute being only an additional instrument , not a full driving force as one glory days. So, after this JT got again together quikly for another studio album, dropping that cold plastic synth sound and in 1985 they preparing for Crest of Knave who is 100% better then this one, remembering in places the old good times. As I said 2 stars.

I have never understood what Tull fans have against Under Wraps. It's arguably, in performance terms, the finest album in the whole of the Tull catalogue, with Anderson's voice never better, Barre's guitar thoughtful and Vetesse's keyboard arrangements always inventive and amusing. Anderson embraced the technology of the earaly 80s and truly mastered it, his drum programming and use of the Fairlight being particularly skilful. Now, yes, this album owes a deep debt to some other contemporary LPs of the time, not least The Golden Age of Wireless by Thomas Dolby and those by the post-John Foxx Ultravox (Chrysalis label mates of course). But these new influences refresh the Tull sound greatly and the whole band sound enthused and engaged.

The full 15 track CD version is the version to seek out. Highlights include the superbly brooding "Later That Same Evening", the thuggish strut of "Saboteur", the rollercoaster ride of "Heat" and the earworm riff of "Paparazzi". Had any of these songs appeared on "Warchild", "Stormwatch" or even "Broadsword and the Beast", with a 'real drummer', they would have stuck in the Tull live set for years. As things turned out, the Tull fan base took its collective ball home and refused to play, which was a real shame. The 1984 live renditions of the UW material (with added 'real drummer'!) are spirited and infectious. Sadly, the band seemed to lose confidence in the material and by the time Tull returned in 1987, they had all been dropped. True, Anderson struggled to sing much of the material live, contributing to the throat problems which have plagued him ever since (although I can't help musing that a 24/7 pipe smoking habit probably wasn't the best idea for the lead vocalist of a rock band), but the material could have been re-arranged, lowered in pitch, played instrumentally and so forth.

Under Wraps is not my favourite Tull album - that would be A Passion Play. But I enjoy UW almost as much... the different sound, instruments and arrangements are just part and parcel of the eclecticism of JT - and truly great progressive artists generally. The album rewards repeated, non-judgemental listening. Don't approach this LP with an insatiable craving for soprano sax and hammond organ; just enjoy it for what it is - an album of fantastically enjoyable progressive pop.

'Under Wraps' is the 15th studio album from Jethro Tull and it has an underlying theme of espionage and the world of spies. Most of the songs on this one were written and/or co-written by the band's keyboardist Peter-John Vettese. Ian Anderson was the usual songwriter in the past and had been since the album 'This Was'. Martin Barre, lead guitarist also co-wrote 2 of the tracks. Barre also said this was one of his personal favorite albums, even though many Tull fans consider it one of their worst. This is also the only Tull album to date to not have a live drummer. All of the drums are programmed by Anderson. Vettese provided the use of heavier synth and electronic use on this album. The combination of programmed drums and electronics is a cause of the complaints of many fans about this album and is the reason this album feels so starchy and dated. Fortunately, the band would find a new drummer after recording this album, Doanne Perry would become a permanent member.

Right from the start, the programmed drums stick out like a buck tooth. Even the synth use isn't as bad sounding as the fake drums, but it does lend itself to the decade it was released in, which pretty much fit in with the new wave sound. All of the other elements for Tull albums are there however, excellent flute and electric guitar passages (though many times the flute has become a supporting instrument, much like "Chicago's" horns also became on their later albums), the usual signature harmonies, but that organic sound of all live instruments is missed right away.

The original vinyl version of the album only had 11 tracks, where the CD and cassette versions had 15. The tracks missing on the vinyl version are 'Astronomy', 'Tundra', 'Automotive Engineering', and 'General Crossing'. The first three were released on a 12' single, but 'General Crossing' became the first Tull track not to be released on vinyl.

There are some pretty good tracks here, so the album might not be as big of a failure as some attest it to be. Despite the automatic rhythm, I still like both parts of 'Under Wraps', 'European Legacy' because of the use of acoustic guitar gives is a more authentic Tull feel, 'Tundra' and 'Nobody's Car', but the others are too synthetic sounding missing that more earthy sound that Tull fans are used to. The over-use of electronics makes the overall sound of the album clinical and somewhat dated. I feel if the tracks were recorded with the use of all organic instruments, it would have sounded better. Also, the vinyl version is actually better because of less tracks as the addition of 4 tracks to the CD even weaken things more.

Even with this somewhat cheapened sound on this album, I still don't think it is as bad as some will say. I still think it pulls off being a good album, but it fits under a 3 star rating because it is definitely non-essential in the Tull discography. It has an even more dated sound than 'A' does, and considering the new wave era it came from, that is not a great thing.

"Under Wraps" is a poster child of rock band losing its way in the 1980s. Everyone and their dog seem to hate this release as it's universally regarded The Worst Tull record ever. And it's not even close, by any measure. Reasons mentioned most often: - album is drowned in obsolete synthesizers, - Vettese co-wrote most songs, - Vettese also programmed unimaginitive drum machines, - the band was crossing the line of tawdry pop music.

Well aware of its lapses, I decided to give "Under Wraps" another shot today, mostly because I prefer writing about tacky albums BEFORE I sit down to all time classics. And here's how I wasted two hours:

"Lap of Luxury", the opening track, demonstrates formula used regularly throughout the album. Slightly fuzzed/distorted guitars sit in the background, electro beats are elevated, swaths of synths attack listener with all kinds of quirks. Anderson vocals sound misplaced and ill-suited - his voice isn't versatile enough to cover synthpop ground convincingly. What's worse, vocal tracks are often multiplied, the outcome being cringeworthy most of the time. I'm afraid synth gimmicks - some of them - are the best thing in this song. "Under Wraps #1" tries the same route, but with slightly better rhythm section and almost catchy chorus - call it a (minor) winner.

"European Legacy" raises the bar though with memorable intro and nice melodies. Song flows very nicely, the flute is used tastefully, synthesizers aren't overwhelming. I'd love to hear an unplugged rendition of this one - it has a high ceiling. Unfortunately synthpop rears its ugly head again in "Later That Same Evening". Very disjointed and unfocused song with soapy esthetics. "Saboteur" is another Miami Vice soundtrack outtake, full of quirks and outdated F/X. There is a Barre solo hidden somewhere, but not a gamechanger.

"Radio Free Moscow" captivates the zeitgeist perfectly. Shallow cold war related lyrics, ugly guitar tone straight from The Police albums, Anderson trying his best to sound youthful and positive. But there is something good happening in the chorus, I found myself humming it for the rest of the day. I think it's the best attempt at getting Billboard attention, for what it's worth.

The rest of the album lies somewhere between trife and sickening, bar two exceptions. Silly espionage lyrics ("Nobody's Car"), tons of postmodern, urban kitsch ("Heat"), loads of uninspired and lazy melodies ("Apogee"). By the time you reach "Paparazzi" you're almost guaranteed to shake your head with disbelief, but trust me: this one won't change it a bit. On top of that, I'm reviewing CD edition, the price tag being another 15 minutes of hastily concocted idiocies ("Astronomy", "Automotive Engineering" and terrible "General Crossing").

But I left out two decent tunes on purpose. CD edition contains "Tundra", rare example of thoughtful synthesizers use. I really dig the melody, fat basslines (bass pedals reminiscent of Rush circa 1980) and sneaky atmosphere. What a shame we didn't have more of that. And then we have "Under Wraps #2", a pretty cheerful tune led with acoustic guitar and double bass! Just like the old times; this would make its way to "The Broadsword and the Best" comfortably*.

* "Dave Pegg has been quoted as saying that the tracks cut from the sessions for Broadsword and the Beast would have made a better album"

I'm afraid "Under Wraps" deserves most of the bad rep it gets. It's not that I hate synthpop - I give Depeche Mode and New Order occasional spin - but you have to be darn good at it to make it work 30+ years later. And I doubt "Under Wraps" was any better the day it was released. Ian's vocals fit terribly, synthesizers are gimmicky at best, Barre's guitar chops either non-existent or distasteful (no love for 80s flangey tones). But most of all: good compositions are SCARCE. Aside from highlights mentioned earlier (Under Wraps #1 & #2, European Legacy, Tundra), Jethro Tull denies us memorable tunes or progressive changes. Sure, you might find some songs less repellent than others (say, Radio Free Moscow), but it's certainly not enough to warrant even a two-star rating.

I've listened to "Under Wraps" twice in a row today, and now I want two days break from music.

Despite being corralled into the descriptive genre prison of progressive folk rock or even hard rock, JETHRO TULL was never one to shy aware from experimentation even if the fanbase of one of prog's greatest success stories didn't go along for the ride. For every chart topper like "Aqualung," JT seemed to crank out the antithesis such as "A Passion Play" which still remains a divisive wedge between those who found the band taking things substantially too far and ultimately the overweening pomp which found a backlash in the form of punk rock which would strike like lightning in the mid-70s. However the ever restless Ian Anderson always seemed to find the perfect way to bounce back and pacify the fans with another excellent album.

While TULL continued doing what they did best, namely crank out excellent tunes crafted into folk inspired rock compositions with proggy touches strewn about, by the 80s the band was sort of stagnating with most of the 70s lineup calling it quits and leaving band leader Ian Anderson along with guitarist Martin Barre to fend for themselves in the brave new world of heavy metal, new wave and post-punk. Anderson needed a break from the scene as well and engaged in some interesting collaborations as a solo artist which began with the album "A," originally was designated to be a solo effort but for some reason released under the JETHRO TULL moniker.

After yet another backlash from fans, Anderson continued his contemporary music upgrade by releasing his first solo album "Walk Into Light" which found him sharing songwriting duties with keyboardist Peter-John Vettese who had joined JT for "The Broadsword And The Beast" album. This is where Anderson jumped into the world of synthpop and new wave as he was trying to join the rest of the once prog turned pop bands like Yes, Genesis and even Franco Battiato to stake a claim in the new game that making instinct rock stars from MTV music videos. Anderson was so pleased with his new infatuation with 80s synthesizers and electronic drum kits that he decided to release another album of the same style as a JETHRO TULL work.

After all, Yes and related band Asia had scored huge hits in 1982 and even King Crimson was finding traction with their Talking Heads inspired sounds on "Discipline," so Ian Anderson must've asked the obvious question, why the heck not? And so it was. JETHRO TULL released the band's 15th studio album UNDER WRAPS right at the end of the dominant new wave scene when the 80s was getting all weird with pop styles splintering in myriad directions. Perhaps the strangest album in the entire JETHRO TULL discography, UNDER WRAPS truly sounds like two distinct timelines that collided and the result was some splinter reality where the early prog folk sounds of "Aqualung" got tangled up with A Flock Of Seagulls or some other similar synth-pop styled bands of the era.

This was perhaps JT's most collaborative effort as Anderson loosened his total control and allowed both Barre and Vettese to craft a number of the tunes. This version of the band featured only four members but with completely different instrumental duties. Anderson handled his usual vocals, flute and acoustic guitar but also become the electronic drum programmer as well as master of the Fairlight CMI synthesizer. Vettese played even more keys and even more electronic programming whereas Barre stuck to his comfort zone of only playing guitar. The band was rounded out with bassist Dave Pegg who is best known for playing with Fairport Convention. The mix of the folk rock elements of prior alongside the new wave synthpop sounds of the era have been the nightmare of prog purist's and an example of eclectic fascination by others.

Needless to say, prog rock stalwarts and new wave fans rarely cross over however i'm one of the exceptions. I love both styles of music and i love the bold brash experiments that some of the 70s prog bands undertook as they tried to forge a second coming in the unfamiliar arenas alongside Duran Duran, Depeche Mode, New Order and Orchestral Manoevres In The Dark. While many deem UNDER WRAPS as the absolute worst thing ever to emerge from the vile stank of the shallow 80s, personally i don't find UNDER WRAPS to be offensive in the least bit. In fact it's perhaps one of the most surreal listening experiences you can ever undertake. Infused with all those familiar Anderson teased out melodies with the same vocal intonations, the short poppy quirks of new wave are infused with electronic drumbeats, heavy synth stabs and that happy-go-lucky spirit of 80s new wave all despite the subject matter of the album revolves around Anderson's fascination with Cold War espionage fiction!

"Lap Of Luxury" starts the album off with the typical tinny and admittedly cheesy drum sounds of the 80s along with thick keyboard sounds including gimmicky new fangled synth sounds. This was the only single to be released and even managed to crack the top 30 however the album was a dismal failure by TULL standards and only reached #76 on the Billboard Top 200 but did better in the UK. The opener is a bit corny and my least favorite track on the album. The title track, well the first version is my favorite track as it is the most catchy. It captures the essence of a great new wave song. It has a steady electro-beat, a variety of synth riffs doing a jittery dance and actually finds Anderson's vocal style adapting quite spectacularly. The synth runs not only capture that herky jerky zolo sound that Devo made their own but also encapsulates the new romantic atmospheric elements as well. Barre's guitar parts are stripped down but he cranks out the chords like a pro!

While the rest of the album isn't as good as the title track, none of the tracks are overtly bad either. While more steeped in the folk elements with new wave supplemental sonic textures, the album more or less strikes that perfect middle ground for what you would expect for the convergence of the two disparate musical genres. Despite the nasty words that this album has generated over the decades, it's actually not that bad, however it's also not that great. Unlike bands like Yes and Genesis who completely reinvented themselves to fit in the 80s era, JT was too stuck in the past and instead of abandoning the familiar folky aspects altogether, only succeeded in haphazardly forcing them together. This album unfortunately lacked the dynamic drama heard on Yes' "90125" and likewise failed to craft the perfect pop hooks that Genesis so perfectly crafted.

While the album works at certain points, it sounds off at others. My main complaint about the album is that Anderson's vocal style just doesn't gel with the synthpop sensibilities. Given that this was a one off curiosity, i am enamored to throwing this on every once in a while but despite my appreciation for UNDER WRAPS it would be a disservice to call this album essential in any way shape or form even from an 80s new wave perspective. In other words, give me 70s TULL any day over this but also when i'm in a new wave mood, this doesn't cut it either. The original album only had 11 songs but the CD added four more tracks and are now officially part of the album (not considered bonus tracks.) The last song "General Crossing" is perhaps the most convincing new wave song on the album with the perfect keyboards and vocal adaptations. If only the rest of the album worked so well, but hey, you can't blame JT for trying!

I read one reviewer comments (not on this forum by the way) saying this was a very brave album. I am always a bit wary of the word brave being used when describing an album's merits. Interestingly, the same reviewer rubbished "A" saying it was too synth driven. Exactly- What?? This album is absolutely not only the worst album released under the Jethro Tull banner it is the worst "Prog" album (that I have heard anyway) full stop.Forget "Love Beach", forget "Then there were Three", forget "Giant For a Day-this is the one.I hadn't heard this album in a while ( I think I frisbeed the CD out of the window when I first heard it) so I thought I had better give it another listen courtesy of youtube. I wanted to hurl my computer though the window this time.The horror, the horror and to think only a few years previously they were producing classic albums like "Songs From The Wood".I am only giving this album 1 star because you can't rate any lower.Just horrible.

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

Their next album, 1984's Under Wraps, is where I disagree with fan orthodoxy the most. This is their lowest-rated album on the sites Rate Your Music and Prog Archives, but I think it's pretty good. Yes, Ian Anderson's flute is minimized; and yes, this at times resembles Thomas Dolby; and yes, they used a drum machine instead of a live drummer for this album. But the compositions here are stronger than people give them credit for. It's also notable for how much collaboration occurred in the songwriting. Anderson only penned four songs on his own, with keyboardist Vettese contributing to the others.

It's worth mentioning that the original vinyl release had a slightly different track listing than the CD I grew accustomed to hearing. "Tundra" was added right smack dab in the middle of the album (being inserted as song #7, on what was originally an 11-song album).

The album opens with electric percussion, a sharp break with Jethro Tull's usual sound. "Lap of Luxury" is a decent hard rock song, featuring a panoply of keys, and "Under Wraps #1" is one of the best songs on the album with its driving main synth line, dark atmosphere, and surprisingly catchy chorus. "Heat" is the best song here. It's a tense, high-energy piece that lets Martin Barre finally have something interesting to do, and Peter-John Vettese's synthesizers (mostly) still sound great.

Under Wraps is also notable for how thoroughly Jethro Tull divorced themselves from folk influences. The occasional flash shows up here and there, like the Spanish-flavored guitar on "European Legacy" or the brief "Under Wraps #2". But the electronics truly take center stage, drowning out many of the band's longstanding tendencies.

Not everything on this album is great, and it does deserve some of the flak it gets. The aforementioned "European Legacy" is an awkward integration of electronics and folk. "Saboteur" has some pretty unfortunate synth brass tones, and "Astronomy" is just not a good song, being a bizarre mishmash of uplifting verses, minor-key choruses, and some of Ian Anderson's worst vocal flourishes. "Nobody's Car" has a main guitar line that sounds like a half-assed Alex Lifeson ripoff, coupled with more terrible '80s synth brass.

Review originally posted here: theeliteextremophile.com/2019/07/25/deep-dive-jethro-tull/