Jethro Tull's album A- should it be reconsidered?

[JKL2000]

Broadsword And The Beast really disappointed me. I liked two songs. "Cold Wind To Valhalla " and "Black Satin Dancer" still contained that certain style of playing existing on Thick As A Brick and A Passion Play...but within shorter songs.

Those two songs are on Minstrel..., not Broadsword.

I'm listening to the Steven Wilson remix now and it's not bad. I'm up to Pine Marten's Jig and so far I'm recalling the issue I have with latter-era Tull. The instrumental bits in each song are very good, verses are generally good but the songs often fall apart in the chorus for me, especially when all Ian does is repeat the song title a few times. Like "Working John/Working Joe", as soon as I hear that it's like all the energy is sucked out of the room. Same with "Four Wheel Drive". There are a half dozen Tull albums I absolutely have to have in my collection, would never get rid of them, but this isn't one of them. In reference to my earlier post, I listened to the first 3 songs on the album yesterday, and today I can't recall anything about them other than how I don't like the WJWJ chorus...

I agree that the songs on A are much more verse/chorus oriented than with earlier albums, and it DOES make the album a bit less interesting for me, but I still like it. Before the recent reissue it was one I really didn't listen to much, but since the reissue came out and I have it and the related material, all in a clearer context, I enjoy it a lot more.

[Mister Triscuits]

You mean like with War Child, Too Old To Rock N Roll, Songs From The Wood, Heavy Horses, Stormwatch, and Broadsword?

There's no question that Ian has always been the "face" of Jethro Tull. But on those albums he wasn't trying to reestablish the brand after billing himself as a solo artist for the past decade. It really does jar that on the album that is supposed to be a return to a band format, we are confronted by an extreme close-up of Ian's unadorned mug, not thinly veiled behind some character like Ray Lomas or the Broadsword gremlin or elf or whatever, but the artiste himself, glaring defiantly at us as if to say "This is ME."

Tull hadn't recorded anything since 2003 so my question was why even bring Tull back at this stage?

Hint: it rhymes with honey.

[moecurlythanu]

Hint: it rhymes with honey.

Phoney?

[Enidi]

Those two songs are on Minstrel..., not Broadsword.



I agree that the songs on A are much more verse/chorus oriented than with earlier albums, and it DOES make the album a bit less interesting for me, but I still like it. Before the recent reissue it was one I really didn't listen to much, but since the reissue came out and I have it and the related material, all in a clearer context, I enjoy it a lot more.

Yes I realize that. They are two different sentences. I apologize for not being more clear

[Trane]

that's what makes me wonder about the latest Tull album. Ian's face is plastered all over it and yet he called it a Tull album. if there was ever an album he should have called a solo it was this one especially since the band is made up of total newcomers. they could have just been his backing band.

Yup, I lso have an awkward feeling about that new albums cover. As if Ian was feeling insecure enough to make that "I am Tull" statement once more.
This issue is discussed in Sean's recent interview with Ian.

BTW, I agree that Stormwatch (and not Stormbringer) had an underwhelming feeling for me. I bought is upon release and was never won over (unlike the previous two, which instantly won me over), because it seemed tired and somehow felt like the end of the band. In that regard, A doesn't have those "flaws", being more fresh, if as the new blood was giving in inspiration - whether I like the album or not - I don't really. I'd have preferred that A, TB&TB and UW be presented as solo projects

You mean like with War Child, Too Old To Rock N Roll, Songs From The Wood, Heavy Horses, Stormwatch, and Broadsword?

you're not comprehending.. there was never any debate over whether or not the albums you listed should have been solo albums. why? because with the exception of Broadsword, all of them were recorded in the bands heydey with the classic lineup. not true with the latest. Tull hadn't recorded anything since 2003 so my question was why even bring Tull back at this stage? if Ian was going to do a solo album, now was the perfect time.

Not to mention A, which if originally a solo project, featured the whole band (which was anytrhing but a srable line-up at that point, for a few years to come... and BTW, Minstrel features the full band at the back of the albuml as well.
Ian might've denied it (or not), but Aqualung was also "him" - at least visually speaking - but the band is on the inner gatefold.

Sooo there was no rule back then, anyways. So why should there be one today?

There's no question that Ian has always been the "face" of Jethro Tull. But on those albums he wasn't trying to reestablish the brand after billing himself as a solo artist for the past decade. It really does jar that on the album that is supposed to be a return to a band format, we are confronted by an extreme close-up of Ian's unadorned mug, not thinly veiled behind some character like Ray Lomas or the Broadsword gremlin or elf or whatever, but the artiste himself, glaring defiantly at us as if to say "This is ME."
.

The thing is that Ian hadn't plastereddf his face on a Tull album (studio release, anyways) since TB&TB in 81/2, and we've grown acustomed to that, and all a sudden, he pulls thid unnecessary (IMHO) stunt. I would've prefered he pulled out an artwork like Crest, Catfish, Roots or Rock Island or even .com.

[chalkpie]

^ I think its cool that Ian released another Tull album. Legendary band, still going, yeah?

[Progatron]

you're not comprehending.. there was never any debate over whether or not the albums you listed should have been solo albums. why? because with the exception of Broadsword, all of them were recorded in the bands heydey with the classic lineup. not true with the latest. Tull hadn't recorded anything since 2003 so my question was why even bring Tull back at this stage? if Ian was going to do a solo album, now was the perfect time.

No, I totally get what you're saying, I was just being cheeky! I suppose I don't place the same importance that some do on which two words adorn the cover. If Tull had been a more democratic unit all these years, I might feel differently. But when it's always been Ian writing all the music and steering the ship in every way, shape, and form, it really doesn't make a difference IMO. Whatever Ian's motivations are in using the Tull name again (money, probably, as alluded to above), it's always been his brand to use anyway. He's 74 years old now and changed his mind... I change my mind all the time too.

I've read some comments expressing concern that Ian is pulling the wool over people's eyes and tricking them into thinking this album and tour is the same Jethro Tull of their youth. But honestly, anyone who pays so little attention that they don't know Martin Barre has been out of the band for a decade now probably doesn't care enough for that to matter.

[Scrotum Scissor]

I'm not comprehending, but I'm not really pretending either. Just ascending.

Back when I started listening to Tull (at 15 y.o.), it was basically on commend from local music journalist Bård Ose, who's a stalwart in Bergen and in 1985 finally got his will through to his paper's (then: Bergens Arbeiderblad BA, now; Bergensavisen BA) editor to allow him a print of a separate attachment issue of 20-some pages in which he had rated 250 of what he promoted as the "most important in pop/rock". He would rate each artist's singular output by 1 to 5 stars, and even today I'm completely amazed at how much I'd still agree with his estimates and evaluations. Ose was/is a GREAT JTull fan, the band being significantly successful and important in Norwegian rock developments as well, and he knows his stuff about them. I remember him granting Stand Up, Living In the Past and Thick As a Brick all five stars.

I went to Apollon, a legendary music store in Bergen, and got Stand Up, Minstrel In the Gallery and A Passion Play - the latter exhibiting what I regarded back then and still today as one of the finest front-covers of all time in popular music. Up until this I was basically a fan of 70s hard rock and some 60s psychedelia, but the Tull gave it all away. Minstrel was heavier and yet more refined than anything I'd ever heard at that point (at 15), Stand Up had that underlying smokey scent of 1969-history and innocent experimentation all over it, not least in the mandolin-based folky tracks et al. And A Passion Play scared the living shit out of me; how could rock musicians even begin to ever conceive of such a disastrously detailed and wicked trait of "song"?

Of course, Bård Ose never liked either A Passion Play or stuff like A. According to him, singer-songwriters like Ian Anderson and Neil Young shouldn't change. I recall him namechecking Anderson's Walk Into Light as one of the worst things he'd ever heard.

He gave A one star out of five. 1! And to this day I could still not quite realize even the relative reasons for it. "Black Sunday" is one of the truly good "prog" songs of the Tulls. And I love the white/beige coveralls and wish Jon Anderson and Dick Van Dyke would wear one too.

[Progatron]

Allelujah! Don't Bend! Ascend!

Giving A one star out of five is a tad dramatic. And I adore Walk Into Light, with its moody synth melodies and Ian turning in some fine vocal performances. I disagree about the white coveralls. They are sweat-inducing under those hot stage lights, and frankly I do not want to see Jon Anderson's Dick Van Dyke.

[JKL2000]

Great post, Scrots! I'm crackin' up.

[Enidi]

A Passion Play and Thick As A Brick period I thought was bizarre. It always felt like a strange and mysterious sounding theme had been written around a bizarre subject matter.

This seemed to continue with less overall consistency in songs like "Back Door Angels ", "Sealion" ...the introduction to the song "War Child " and bizzare sounding melody which Ian Anderson sings is unique. Minstrel In The Gallery as an album was arranged brilliantly.

The Chateau sessions mixed by Steve Wilson is intriguing and I'm in another world when I listen to it.

The earlier period of Tull such as Stand Up, Benefit, and Aqualung was an on going progression in the writing. The fact that "My God" was an unusual song for Tull at the time and that Jeffrey Hammond overdubbed odd voices for the center piece was telling. I believe it was him? I could be wrong.

Thick As A Brick was very impressionable to me. I bought when it was first released and couldn't believe what I was hearing. The album "A" is very progressive and if you are in a band try learning some of those songs and you'll see immediately how hard it is getting those songs tight. It obviously was a different direction the band took. The style of guitar and flute lines accompanied by Sir John Evans , ( he was dropped on his head when he was very small), and Barrymore Barlow on T.A.A.B and APP were played in a different style on "A". The ideas for chord progressions as well. Ian Anderson's vocals on A Passion Play are powerful and his range when singing different octaves are masterful ...that changed

[Rajaz]

Throughout the history of Jethro Tull spearheaded by Mr. A himself, many of the lineup changes have been to adapt to the material that was being released and the players who would best blend into it. A real good thing that Martin Barre so skillfully made himself indispensable up to when time caught up with him.

But although I also was disappointed to see Evan, Barlow and Palmer being axed from the band, I was also elated to see Eddie Jobson and the new rhythm section of Mark Craney (RIP) & Dave Pegg as a tight and solid unit.

Yes, "A" (as in Anderson) was going to be a solo album but was molded into a new Jethro Tull model for the 80's and the timing was perfect. Its among my top five Tull albums and am glad it was turned into a "A la Mode" slice of pie to be fully savored ;-)

[dropforge]

Evan and Palmer got their walking papers (they might have been about to leave, anyway). Barlow left of his own accord, more than likely over his disgust with his friend John Glascock's lousy deal with Anderson. As we know, Glascock's health had deteriorated to the point he could no longer participate. A new rhythm section was happening, however which way that cake got cut.

Mark Craney was awesome, too. Dave Pegg was the logical choice for new bassist, since he was available following the disbanding of Fairport Convention, and he had already played live with Tull after Glascock could not.

[Facelift]

Evan and Palmer got their walking papers (they might have been about to leave, anyway). Barlow left of his own accord, more than likely over his disgust with his friend John Glascock's lousy deal with Anderson. As we know, Glascock's health had deteriorated to the point he could no longer participate. A new rhythm section was happening, however which way that cake got cut.

Mark Craney was awesome, too. Dave Pegg was the logical choice for new bassist, since he was available following the disbanding of Fairport Convention, and he had already played live with Tull after Glascock could not.

And ever since, the rhythm section has been lousy. Or, at least, not an important part of the music, which ultimately was to its detriment. Ian Anderson needed input from others to make Tull's best music. His recent solo albums and the latest farce of a "Tull" album bear that out in spades.

It also evidences, by contrast, how much of Tull's best music was a result of rhythm section intricacies and interplay. I think it's no coincidence that IA's best solo albums are when he does the short acoustic kinds of things (SLOB, Rupi's Dance), which don't want for tricky/significant drum and bass work.

[JKL2000]

What was Craney's tenure with the band? What albums/tours did that cover? And on the Catfish tour, was it Doan Perry on drums? That's when I started going to Tull concerts, but I can't remember. I think Perry.

[Mister Triscuits]

What was Craney's tenure with the band? What albums/tours did that cover? And on the Catfish tour, was it Doan Perry on drums? That's when I started going to Tull concerts, but I can't remember. I think Perry.

Mark Craney was only on the A tour, 1980-81. Doane Perry was on the initial Catfish Rising tour in 1991, but was temporarily replaced by Dave Mattacks in ‘92 for the “A Little Light Music” tour.

[PROGMONSTER]

Crossfire, working John, fylingdale, Sunday, uniform, further on, coruisk

Awesome

[Piskie]

Compared with what was to follow its pretty good and compared with what had past it's disappointing.

[Enidi]

Evan and Palmer got their walking papers (they might have been about to leave, anyway). Barlow left of his own accord, more than likely over his disgust with his friend John Glascock's lousy deal with Anderson. As we know, Glascock's health had deteriorated to the point he could no longer participate. A new rhythm section was happening, however which way that cake got cut.

Mark Craney was awesome, too. Dave Pegg was the logical choice for new bassist, since he was available following the disbanding of Fairport Convention, and he had already played live with Tull after Glascock could not.

I red something about Glascock in the 70s that the internal collapse of his bad health began with him not taking care of an abscess tooth. I never red anything else about it. I don't even know if that was true...but I do know that he was immensely talented and if I remember correctly he was in Carmen. Fandango In Space? He's a ball of energy on the Heavy Horses video. He was fantastic!

[JKL2000]

Mark Craney was only on the A tour, 1980-81. Doane Perry was on the initial Catfish Rising tour in 1991, but was temporarily replaced by Dave Mattacks in ‘92 for the “A Little Light Music” tour.

Cool, I saw Tull on the A Little Light Music tour also - I don't think I ever knew I've seen Dave Mattacks live in person! I used to see his name on a lot of sleeves back in the day.

[PROGMONSTER]

Compared with what was to follow its pretty good and compared with what had past it's disappointing.

I like the A remix set as much as most of the others. Quality all the way

[Sputnik]

I red something about Glascock in the 70s that the internal collapse of his bad health began with him not taking care of an abscess tooth.

He had a congenital heart condition which was worsened by an infection caused by an abscessed tooth. Apparently there were lifestyle issues at play as well. My guess is he'd have survived had it not been for the heart valve problem, but it's not clear he'd have stayed in Tull for much longer.

Bill

[Progatron]

Cool, I saw Tull on the A Little Light Music tour also - I don't think I ever knew I've seen Dave Mattacks live in person! I used to see his name on a lot of sleeves back in the day.

I did too, Massey Hall in the fall of '92. The live album had just come out, so we knew kind of what we were in for, and it was quite good. I especially loved (and still love) Rocks On The Road, despite Catfish Rising being my least favourite Tull album. The Fairport rhythm section of Mattacks/Pegg was pretty cool to see, and worked very well with Tull.

[TheH]

But although I also was disappointed to see Evan, Barlow and Palmer being axed from the band, I was also elated to see Eddie Jobson and the new rhythm section of Mark Craney (RIP) & Dave Pegg as a tight and solid unit.

Actually Barlow had already left the band and formed his own band Tandoori Cassette (who just released a 7''). Evan didn't want to tour anymore as he was tired from that.
Pegg was already chosen as the official replacement for Glascock as it was clear that he wont be able to tour anymore.

So only Palmer was really axed, but I think she had a lot of other plans already also at this time.

[StarThrower]

I really enjoyed the A La Mode anniversary set. A is a solid album and the live concert is excellent. Any word on when the Broadsword set will be released?