It opens with the massive riffery of “A New Day Yesterday”, a song which demonstrates Tull were actually once one of the heaviest bands from the UK, and proves they could kick just as much ass as your Led Zeppelins or your Creams. It just takes a little more time to sink in, with its subtle flute solo and lyrical content. Easily a classic. The second track is “Jeffery Goes to Leicester Square”. I’ll be buggered if I actually know what it’s meant to be about, but it has some nice eastern influence on the quiet guitar (which strangely is never rhythmic, it’s a solo all the way through!), and of course, Anderson’s unavoidable lulling and mesmerising flute fills.

Next comes the Bach influenced “Bouree”, an instrumental that is played at every Tull live show. It takes the main parts of Bach’s original, gives it a jazz injection, throws in a bass solo, and HOT DAMN if this isn’t one of the most incredible instrumental performances ever laid to plastic! Them Tull lads sure know how to play, and “Bouree” is the perfect culmination of their talents.

On the next track we return to a harder edge, much in the same style as “New Day”. This is of course the mighty “Back to the Family”, which is something of a whinge, and is one of Tull’s angrier compositions. It starts off in a slow tempo with massive sounding power chords, but nearing the outro, Clive Bunker takes a sudden speed change and proceeds to beat the living snot out of his kit, and the song descends into mayhem. Anderson begins with a super-fast flute solo, which is then challenged by Barre’s meaty guitar licks. Barre wins the duel, and solos like he never does again! Anderson’s flute sounds desperate not to get ripped apart in the fray, but crashes and burns massively, leaving us to enjoy the frenetic and incendiary fretboard work. The first attempt at speed metal with a flute? Oh yes. “Look Into the Sun” is almost like a comedown, the previous track being the raging high. But rather than being a headache, it is a slow, pensive blues ballad, showing that Martin Barre is not only is a haul-ass rock axeman; he can also lay down some sunbeam drenched sweetness. The perfect song to paint a fence to in mid-June.

Next is the fan favourite, “Nothing is Easy”, in which Barre steps back for a while and lets Anderson soak up the limelight, but adding some complex, yet chilled jazz flute. It’s a good song, but I feel it goes on for just a bit further than optimum song length, especially since there’s not too much going on here. Anderson brings us back to some Eastern folky-influenced music “Fat Man”, allegedly about ex-guitarist Mick Abrahams, but I would like to think that Anderson wouldn’t be so childish as to musically attack someone *is reminded of his later work, “A Passion Play”*… or then maybe not. But hey, it’s a nice jumpy little song fuelled by balalaikas, so what’s not to like?

Ever wanted to know where the Eagles derived their ideas for “Hotel California” from? From the next track, “We Used To Know”, that’s where. Word has it when they supported Tull back in the seventies they loved this song so damn much they decided to “borrow” it for their epic piece. But I prefer “We Used to Know” so much more! The lyrics are haunting, and Barre going from pushing raw talent into his soloing to raw EMOTION. I cannot stress what an excellent song this is, it definitely showcases more of Tull’s collective brilliance melded into four minutes. The band remain melancholy for the next number “Reasons for Waiting”, which sounds like its been recorded in the depths of a sewer with an orchestra at their disposal. Yet another emotional four minute mini epic, though it doesn’t quite speak to me like “We Used To Know” does.

The LP ends with a gigantic sounding flute/guitar riffing of “For A Thousand Mothers”. It’s a mad bloody rampage; Anderson’s flute work is flying off at all angles, while Barre and Cornick keep a rock solid rhythm all the way. The breaks after the chorus sound like Anderson is trying to blow his flute apart, and just when you think the song’s over….FLUTE SOLO! It’s not one of his best, but it keeps in the mightily crushing vein as the rest of the song. It slowly fades at about the four minute mark, thus drawing a pretty much flawless album to a close.

OVERALL

This album shows Jethro Tull at the top of their game, a hard rock masterpiece that they sadly never better, only the classics “Aqualung” and “Live: Bursting Out” come close. What’s that? you don’t own this album? Buy it now, for god’s sakes, here’s some money!!!

Band Personnel
Ian Anderson: Vocals, Flute, Balalaika, Acoustic Guitar
Martin Barre: Lead Guitar, Acoustic Guitar, Accordion
Glenn Cornick: Bass Guitar
Clive Bunker: All Manners Of Percussion, And A Thousand Drums.
String Arrangements by David Palmer