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While not as memorable as the previous effort, the album still delivers standard Jethro Tull: Anderson's flute, Martin Barre's crunchy guitar, and the wide-reaching keys of Andrew Giddings support Anderson's ever-weakening voice, which he imposes onto every song. Once again Tull's capable hard rock is alternately ornamented, twiddly and heavy handed, so after repeated listenings Tull fans should be satisfied.
|Jethro Tull||Primary Artist|
|Najma||Bass Guitar, Vocals|
|Ian Anderson||Acoustic Guitar, Bouzouki, Flute, Vocals, Wood Flute, Bamboo Flute|
|Martin Barre||Acoustic Guitar, Electric Guitar|
|Andy Giddings||Organ, Piano, Accordion, Keyboards, Hammond Organ|
|Doane Perry||Percussion, Drums, Electric Piano|
|Jonathan Noyce||Bass Guitar|
|Ian Anderson||Producer, Engineer, Artwork, Paintings|
Posted October 1, 2010
Now, admittedly, Ian Anderson's voice is not nearly as sonorous, flexible, or wide in range as it was in its glory days (witness any of the first few albums; the man definitely could sing well, putting it conservatively). However, this is the first album of Tull's I've heard since ''Crest Of A Knave'' whereby Ian's voice hasn't sickened me. He's learned to sing softer, within his now lower-baritone range (whereas he had been, I suppose, a high-baritone). And the songs! Ian had often written about love, but in a witty and clever way, and not just in the usual sex-sex-and-more-sex manner of much rock music (priggish though that may sound!). ''Catfish Rising'' and ''Rock Island'' had frankly disappointed me with some of its relatively lewd numbers (well, lewd compared to ''Sossity,'' ''Cross-Eyed Mary,'' or ''Wond'ring aloud,'' say). Ian's gotten back to writing more in his old vein -- not trying to write or sound like anyone but himself. Thank heavens! The band of course has always been solid, but Martin Barre for a while there seemed to want to be Mark Knopfler. That's a shame, because he has his own style which worked for him before - and which, happily, works for him again, now that he's gotten back to it. All in all, this is an example of a band aging gracefully, staying true to itself while working within the changes that occur with age (such as the change in Ian's voice). Give Jethro Tull a hand for this album.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.