Origin of the species: Although
it didn't take long for Ian Anderson and crew to move out of the shadow
of the British Blues boom (especially after firing guitarist Mick Abrahams
in 1968), there's no denying the band's strong blues roots. Artists like
Muddy Waters were a huge influence on Ian Anderson, as were some of the
more pop oriented branches in the blues tree like Howlin' Wolf and Chuck
Berry. But perhaps his greatest influence was Brit songwriter Roy Harper,
whose folkish guitar influences can be heard throughout TULL's extensive
catalog. Unlike many rock bands from their island that blossomed during
the late 60s, TULL didn't abandon their ancestry in a quest to
"go American". Their lyrical themes always remained
steadfastly British, even to this day. And in case you're curious, the unusual
name of the band was taken from an obscure 18th century agriculturist, which
explains why most hard rock bands today always seem to reach for the farmer's
almanac when it comes time to select a name.
First, buy: - "AQUALUNG" 1971 (Chrysalis)
- Classic rock radio aside, "Aqualung" easily represents TULL's
strongest track-by-track platter. It was the sound of Ian Anderson truly
spreading his wings, for the first time as a composing bandleader. Despite
popular opinion, "Aqualung" is not a concept record, either, although many
of the songs seem to focus on themes of free-spirited romanticism and religious
hypocrisy. Tracks like "My God" and the infamous title track (actually inspired
by a photo of a vagrant taken by Anderson's wife) pull the listener this
way and that through tangled webs of odd chord changes, electric riffs,
and acoustic moodiness. The elegant folkish magic of "Mother
Goose" and "Wond'ring Aloud" are exuberant, hook-heavy
examples of British songcraft, strong enough to get you trading your Les
Paul for a handmade Martin.
Then buy: – "Thick as a Brick", 1972 (Chrysalis)
- Evidently, so many people thought that "Aqualung" was a concept
album, the next time around the band actually decided to deliver one. Very
much inspired by the rise of Monty Python, TULL claimed that all lyrics
had been written by an 8-year-old boy named Gerald Bostock. In reality of
course, it was all tongue-in-cheek zany British madness. And speaking of
madness, take a close listen to the lyrics sometime. While they deal loosely
with the theme of gifted, precocious youngsters surrounded by idiotic adults,
really it just sounds like a lot of witty nonsense. Even so, the album boasts
some of Anderson's best flute-frosted acoustic melodies
spiraling around clever orchestral arrangements
and Martin Barre's toothy riffs. "Thick is a Brick" should serve as an example
for bands of today that lighthearted wit and ferocious musicianship can
exist simultaneously with great results.
Then buy – "Minstrel in the Gallery",
1975 (Chrysalis) - While many could make the case for 1969's "Stand
Up" or 1970's "Benefit" (both of which are excellent), it's the cheekiness
of "Minstrel..." that really makes it a must-have. Subtle charms like the
banging of the enthusiastic king character in the title track and Ian's
mistake at the beginning of "Baker Street Mews" (if you listen closely,
you can hear him mutter, "Shit, shit, shit! Baker Street Mews, take two...
) offer irresistible delights for any folk rock fan. Ian's acoustic playing
seems to hearken back to the quality of the "Aqualung" era during tracks
like the marvelous "One White Duck/0=Nothing at All" and "Cold Wind to Valhalla".
The entire affair is a quaint and romantic reflection
on the delights of London city life that makes up for it's lack of bombast
with stunning acoustic warmth.
Live pick: "BERLIN DEUTSCHLANDHALLE 18-05-1978"
-If you're unsure of how many dang bootlegs TULL recorded over
the years, ask your local GRATEFUL DEAD fan (most likely, they're a TULL
collector too). Here's a hint - there's a ton of them. Again, some may go
for the more blues-oriented early shows, but by 1978, TULL had developed
a remarkable repertoire of songs, as well as amazing poise and good humor
in front of a crowd. The disc draws heavily from their "England's mountains
green" stage ("Heavy Horses", "Songs From the Wood", etc.) and is literally
crammed with great performances, glockenspiels, weird synths, and Ian's
witty banter. At one point, keyboardist David
Palmer returns from a quick men's room break,
only to have Ian ask him publicly, "Did you give it a good shake?"
Avoid: "Rock Island", 1989 (Chrysalis)
- Because of TULL's long history and their propensity to experiment
with new ideas, an entire separate section could be written on which stinkers
to avoid. While the synth-ridden "A" and the poorly timed "Too Old To Rock
'N Roll, Too Young To Die" rock opera are strong candidates, both pale in
comparison to the blandness of "Rock Island". Following up 1987's brilliant
"Crest of a Knave" disc was apparently no easy task. "Rock Island" does
have stylistic similarities, but offers perhaps the most lifeless, by-the-numbers
set of tunes the band ever released. The only track worth having is "Another
Christmas Song", and that's probably available on several
compilations at this point that would spare you
from having to endure the rest of this tedious platter. Don't say we didn't
warn you.
Closing tidbits: JETHRO TULL
was never a band that was carried by a lot of radio singles. Sure, they
have a few that we've all heard, but by and large the band has sustained
themselves through an extremely loyal fan base that deeply appreciates Ian
Anderson's dark, restless creativity. The band has released so much good
music over the years, even their most horrid stuff is worthy of praise for
its originality (like that Pettrucci guy could ever write something to rival
"Dr Bogenbroom". I mean get real!) and forward-thinking arrangements. Truth
be told, you can never really have too much TULL in your music collection,
so start snatching 'em up blindly and enjoy!
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