What does it sound like?:
In the summer of 1972, Jethro Tull decamped to France to record a follow up to the highly successful Thick As A Brick album, choosing the studio du jour, recently occupied by luminaries such as Elton and Bowie. Alas, the sessions were marred by technical and logistical issues, so the band returned to the UK with three sides of a planned double album on tape. In the cold light of day, second thoughts prevailed and Ian Anderson chose to go in a different direction and start over with a clean slate eventually producing A Passion Play, with the previously recorded music being set aside. This abandoned material gradually dripped out over the years, with the first side appearing on the 20 Years of Jethro Tull compilation in 1988, and the remainder showing up on 1993’s rarities set Nightcap. Eventually of course, the whole lot was inevitably remixed by Steven Wilson and included on the Passion Play – Extended Performance box set a few years ago. This release is simply a vinyl edition of what was on that box set, so if you already own that then there’s nothing to see here. Like last year’s Warchild 2 release, this is simply a chance for Tull diehards and collectors to own the Steven Wilson mixes of all the songs on vinyl. There’s some interesting musical ideas on show. so the material is certainly worth investigating if you’re not already familiar with it. As there were only three sides worth of songs recorded, the fourth side here of this double album is devoted to showing how some of the work was reused on later records such as A Passion Play itself and the following year’s Warchild. Rewarding as it is to listen to, this is a release that will surely mainly appeal to Tull completists who want to own every note the band committed to tape fifty years ago on every available format.
What does it all *mean*?
It’s intriguing to hear what the great lost Tull album would have sounded like.
Goes well with…
Flutes and codpieces, wondering aloud what might have been.
Release Date:
15 March
Might suit people who like…
Vintage Tull, the glory days of prog, collecting vinyl.
“Of course, the prog was being done ironically”. Yeah, RIGHT.
I like this phase of the band better than their ?ironic? versions of Gary Numan and Dire Straits-sounding tunes.
“I like this phase of the band better than their ?crap? versions of Gary Numan and Dire Straits-sounding tunes.”
Fixed that for you…
Many thanks. It was a modest understatement, as I hate to cause offence.
Je vous en prie. As a huge TMT fan, I have no qualms about calling out the rubbish bits…
@Twang?
You’re wrong. Those tracks on Crest of a knave are great!
Aha! So you reckon “Gary Numan and Dire Straits-sounding tunes” describes tracks on Crest of a Knave?
Not in the slightest. Ian always experimented with different approaches, and, yes, sometimes picked up the moderne. So what.
I blame Vincent!
But seriously folks, we’ve had this chat before – and each to their own, etc. I went off Tull when Ian went down that particular road – I think it had less to do with the “moderne” than finding an approach to singing post-surgery – and fair enough with that.
Well i kind of agree @fitterstoke, it’s the last one I really like. Rock Island, Catfish Rising are the last 2 I bought at release I think and both are a disappointment. I ought to give them a listen to see how they sound. I’m interested what the “road” is though. It’s a very varied album. This is a cracker, for example. All the right elements including Ian’s anger at perceived unfairness at the treatment of farmers. “They’ll say they gave me compensation – that’s not what I’m seeking, I was a rich man before yesterday”. Martin Barre never better.
I wasn’t suggesting that CoAK is a “self-contained” road (although I’ve never really liked it that much) – rather the start of a journey which includes Rock Island and Catfish Rising and on down…
@Twang
I’m going to have a listen to Crest… to see what I’m missing. Clearly, you are the Pro from Dover regarding TMT, so it’s got to be worth another go.
Also, do you have a view on Roots to Branches? I’ve just been listening to it in the car – and it’s a lot better than I remembered. Bamboo flutes, eastern themes – much better than Rock Island or Catfish. Any thoughts?
The late Mrs Cakes did not share my enthusiasm for The Mighty Tull. However she did rather like Said She Was a Dancer.
I think, anent the guitar sound, that Mark Knopfler had said he was influenced by Martin Barre and so it all started from there.
RTB? Ahhh, I’m afraid I think it’s very weak @fitterstoke. No dynamics, no big riffs, no drama. It’s based around that mid tempo chug they seem to favour these days. Ian’s voice clearly on the turn, and there’s a horrible string synth which should be nowhere near a Tull album. Martin Barre reliably excellent but it’s not enough. Just not enough.
**gazes sadly into the distance. Hums “My God”**
As you know: for me, the classic era ended with Stormwatch. I’ll stretch a point for Broadsword, but no further. Ian’s voice had already turned by Crest…, hence the Dire Straits comparisons.
But, @Twang, I put it to you that RTB is better than Rock Island or Catfish Rising by a country mile.
“Of course, the prog was being done ironically”. Yeah, RIGHT.
That was referring to Thick as a Brick, Vincent – A Passion Play was a full-on progressive concept album and I don’t think anyone tried to pretend otherwise.