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TJTB's 'Official' Review of TAAB2 « Thread Started on Apr 22, 2012, 3:33pm »
A couple months ago I asked Greg (Morthoron) of The Dark Elf Files if he would be interested in writing the "official" review of Ian's Thick As A Brick 2 for our web-board. Greg of course is a very gifted writer, as those of you who have read his Dark Elf Files are well aware.
Well, I am very happy to report that Greg was indeed very interested and completed it yesterday which I present to you all now.
I hope our members will utilize this thread to add their own reviews and thoughts on the record. So don't be shy - feel free to dissect, discuss and even probe a little. ;-)
Ian Anderson’s Thick as a Brick 2 (alternatively titled TAAB 2: Whatever Happened to Gerald Bostock? or simply TAAB2) is an album of surfaces. On the surface, TAAB2 is a recapitulation of Jethro Tull’s 1972 progressive rock masterpiece Thick as a Brick. On the surface, Ian Anderson and a band of hired hands try to recapture the musically adventurous and audacious Jethro Tull original recording. On the surface, Gerald Bostock, the main character of the tale, relives his half-century on earth through song and spoken-word poetry, Ian Anderson tries to relive his glory days as eccentric rock star, and we as listeners, ever yearning for what we can’t have, try to relive a revolutionary period of history where music really did make a difference – on the surface. You can never really go back, but the desultory reverie is still comforting in our muddled, work-a-day minds. On the surface, the song “What-ifs, Maybes, and Might-Have-Beens” may well be a more apt title for this project and this review. The question remains if there is anything of worth beneath the surface. I would say the answer is yes, but this affirmative is not absolute, and comes with several qualifiers.
The danger here, of course, is having the audacity to call a project "Thick as a Brick 2". Ian Anderson and Jethro Tull were audacious enough to present a single song stretched over two sides of a piece of vinyl and call it Thick as a Brick. They were even more audacious by repeating the process with A Passion Play a year later in 1973. But such audacity was rewarded, as both albums hit #1 in the U.S., an unheard of feat for albums without a hit single, even in the heyday of progressive rock. One could question the 64-year-old Ian Anderson’s motives for recording TAAB2, and a cynic may well consider this effort as one last crass attempt to cash in – as if the immensely wealthy Anderson needed to pad his voluminous retirement coffers - but this concern has been hurled at Anderson previously, most often regarding the ludicrous amount of Jethro Tull remasters, repackagings, anthologies, live recordings, and greatest hits albums he has inundated the market with over the years.
But Ian Anderson has always done whatever the hell he wanted, and it is that “fuck you” mentality that has endeared him and his band Jethro Tull to his intensely loyal fans and enraged the rock-critic establishment (themselves often personifications of the term “thick as a brick”), who attacked Tull quite unmercifully, resulting in a hostile war of invective between Anderson and the critics for much of the 1970s. Anderson himself states on j-tull.com:
“It was a little daunting to consider the impact – or perhaps lack of – which this release might have on old and new fans alike but I eventually decided that I would embark on this for my own benefit and enjoyment rather than trying to please anyone else at all…Ah, well – you can always go and watch The X Factor and the Eurovision Song Contest.”
So, let’s take Ian at his word that TAAB2 is just another eclectic piece of stubborn individualism and not a bit of self-serving promotion. In either case, one confronts the daunting specter of comparison between the epic original and the fledgling newcomer. In this, I believe Mr. Anderson does this release a real and glaring disservice, particularly to the musicians who recorded the album with him and to the music itself. To follow-up a momentous and revered masterpiece with an appendage in afterthought literally invites disappointment and overly critical contrasting. To put it bluntly, TAAB2 is not as good as Thick as Brick – how could it be? In context, Thick as a Brick is one of those albums that is forever memorialized as a pivotal piece of rock history - like In the Court of the Crimson King, Close to the Edge or Selling England by the Pound – the standard by which all progressive rock albums are measured. And you want to do a sequel? WTF!
Thick as a Brick was, ostensibly, a single song composed around a “prize-winning” epic poem by the mythical Milton Bostock, an 8-year-old child prodigy whose scandal-ridden youth was reported in a wonderful spoof of a local newspaper, The St. Cleve Chronicle, as part of the cover art of the album itself (one of the finest examples of album cover art in the 1970s). On TAAB2, we find Gerald Bostock at age 50, contemplating his mortality and reviewing the rather sordid samplings of his life history. The differences between the two albums are stark. On Thick as a Brick, incidences of Gerald’s life are wittily recounted in the newspaper album cover, but the poem/lyrics themselves tell an allusive tale with clever wordplay of growing up in post-WWII Britain; whereas, in TAAB2 the songs themselves recount Gerald’s story. The music on Thick as a Brick is an organic flow of musical moods and themes in ever-changing time signatures and tempos without stops – a near-continuous piece of music; while TAAB2 is a broken mosaic of different musical styles and traditionally separated songs with the lyrics as the only unifying theme (and the concept of the album). If one removes the many direct references to the original album (which are welcome, of course, because Thick as a Brick is always a worthwhile listen), then what is most noticeable is that TAAB2 owes less to Thick as a Brick and more to the Ian Anderson 2002 solo album Rupi’s Dance. In fact, you could have titled this release Rupi2, and no one would have noticed the difference. For context, give a critical listen to “Lost in Crowds”, “A Raft of Penguins”, "Pigeon Flying Over Berlin Zoo", “A Hand of Thumbs”, or “A Week of Moments” from Rupi’s Dance and you’ll understand my consternation. It’s not that I dislike Rupi’s Dance, on the contrary, it is a fine Ian Anderson solo album; however, it is an Anderson solo album and not a Jethro Tull album, just as TAAB2 is an Ian solo effort and not a Tull release. Am I splitting hairs here? I do not think so, and thus my main disconnect with TAAB2.
To put things in the proper perspective, I would merely point to another great rock performer, Alice Cooper, a direct contemporary of Jethro Tull in the 1970s. At the same time Tull released landmark albums like Aqualung, Thick as Brick, Minstrel in the Gallery and Songs from the Wood, Alice Cooper (meaning in this case a great, cohesive band) released superb rock albums such as Love It to Death, Killer, School’s Out and Billion Dollar Babies. Then Alice Cooper, meaning now the individual performer who changed his name and dropped his band, went on to become a mockery of himself, failing to repeat the success he had in large part to his bandmates Glenn Buxton, Michael Bruce, Dennis Dunaway and Neil Smith. Likewise, Ian Anderson, who has always been the principal songwriter and driving force behind Jethro Tull, an authoritarian figure who has been known to go through musicians like a baby goes through diapers, tries to recreate the mystique of an album that, whatever Mr. Anderson considers to the contrary, was a remarkable effort by a band of incredibly talented individuals that were with him through most of Tull’s greatest successes. Again, like it or not, when you loudly proclaim that you are making a sequel to a great album, this leads to the inevitable comparisons of one band to another.
The musicians on TAAB2 are evidently very accomplished (or else Ian Anderson, perfectionist that he is, would have nothing to do with them), but it is obvious that they are following cues here, and that TAAB2 is indeed a solo album. In comparison, Thick as a Brick is an ensemble effort, with long musical passages wherein band members trade fiery salvos at a breathless pace. There is a fire in Thick as a Brick that cannot be found in TAAB2. From a compositional theory standpoint, I suppose one could say that there is a fundamental difference between the explosive passion of youth and the banked embers of middle age, which match the child prodigy and the stodgy 50-year-old. But let’s be honest, we don’t necessarily make philosophical differentiations between two albums, we compare the music and musicians.
Guitarist Florian Opahle spends most of the album copying Martin Barre licks. Opahle, although gifted, never gains his own “voice”, so to speak, and one is constantly reminded of Martin’s absence (he had been on all Jethro Tull albums since 1968). Because of all the musical reminders - every last distinctive guitar inflection and monster riff - we recall Barre’s immense input in the making of Tull compositions. Elsewhere, keyboardist John O’Hara in no way matches the classical piano runs and ferocious Hammond organ of John Evan, and the reliance on accordion on many tracks (that foul instrument Tull fans derisively refer to as “the squeezy thing”) in no way perpetuates Evan’s fluent keyboards or the magnificent strings and horns David (Dee) Palmer arranged on Thick as Brick. And let’s not even get into the differences between the thrilling and inventive drumming of Barriemore Barlow (who Led Zep’s John Bonham once called "the greatest rock drummer England ever produced") to the fellow on TAAB2 who keeps a beat like a metronome. You could have borrowed a drum machine from the Under Wraps sessions for all that. That there are no band members from the original album to mark the passing of years and offer continuity is perhaps the greatest mistake Ian Anderson made: this is an approximation of Jethro Tull, but it aint “Tull”.
If one divorces oneself from the premise (a big “if” in my estimation), TAAB2 is a very good Ian Anderson solo album. Naturally, there is always the regret over Anderson’s severe throat problems, which constrain his once powerful vocals and leave him nasally and straining. But he overcomes this handicap better here than on many of his previous albums. The spoken word bits are a hit and miss proposition. The poem “Might-Have-Beens” has Ian doing his best Ronald Colman impersonation (see Colman as the medieval poet François Villon in the 1938 film If I Were King), but it is terribly annoying on “Give Till It Hurts” (with Anderson using a dreadful evangelical American accent).
Yet the brief acoustic passage that precedes the bible-thumping infomercial babble on “Give Till It Hurts” is the album’s finest example of Ian’s underappreciated abilities on acoustic guitar (and regrettably far too short). Elsewhere, we learn that Gerald Bostock got felt up in school by a pedophilic teacher on "Swing It Far", followed by the two best compositions on the album “Adrift and Dumbfounded” and “Old School Song” which, oddly enough, is a song that best adheres to the spirit of Thick as a Brick, containing almost continuous inferences to the original. The band really seems to gel by the end of the album with their most cohesive efforts musically “Kismet in Suburbia” and "What-ifs, Maybes and Might-Have-Beens", and TAAB2 ends with a nostalgic reprise of the final acoustic passage of Thick as a Brick, which Anderson ruins when he sings the last line as “…and your wise men don’t know how it feels, to be thick as a brick – TWO!” (as if it was necessary to remind us, Ian).
I have heard other reviews gushing over the album’s return to a “1970’s sound”; unfortunately, I don’t hear it. Producer Steve Wilson (of the prog-rock band Porcupine Tree) does not give the album the warm ambience of 70s vinyl, it has that digitally sequenced sound that leaves me cold, with keyboards that are lifeless, and flat, mechanical drums. And as I mentioned previously, it doesn’t help matters that TAAB2 has only a passing references to the original instruments and equipment used. There was no “squeezy thing” on the original, and it doesn’t belong here: more Hammond organ, less squeezy thing, please. Oh, and Ian, you could have at least given Dee Palmer a call for some much needed string arrangements!
But I digress. We are often most critical of that which we love most, and I have been an ardent fan of Tull since the early 70s. On the surface, and if I compare apples to apples, I can only rate this release two and ½ or perhaps three stars if I’m feeling charitable (on a five star scale, which is what I have rated the original Thick as a Brick). But there is more lurking beneath the surface here, isn’t there? And really, if we look at this album as a release in 2012 and forget its regrettable ties to a masterpiece by Jethro Tull, then it is goddamn good in comparison to the crap that passes for music these days. Therefore, I have to say this is the best solo album Ian Anderson has ever made, and I give it four stars (music, like the economy, is prone to inflation), even with the “what-ifs, maybes and might-have-beens” that mar the surface.
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Re: TJTB's 'Official' Review of TAAB2 « Reply #3 on Apr 22, 2012, 5:20pm »
I would like to say how much I respect Greg's honest review of this album. He has made a sincere effort to explain his feelings and gives a very persuasive discussion. For many points he has a strong grasp of Tull history to back up his criticism.
Here is where I differ. For all the years I have seen Tull, Ian remains the biggest part of what Tull is.
Quote:That there are no band members from the original album to mark the passing of years and offer continuity is perhaps the greatest mistake Ian Anderson made: this is an approximation of Jethro Tull, but it aint “Tull”.
Perhaps we all want to feel Ian owes Martin or John or Barriemore or Jeffrey a piece of this. To me, "Thick as a Brick" while being a collaboration, is still the idea of someone named Ian Anderson. I cannot expect him to collaborate with musicians just for historical continuity. While it would be grand to see such a performance, I don't believe it would change a thing. Everyone would still be critical of why someone would be left out such as John Evan or Jeffrey Hammond.
This is a concept album with TEETH. The stories are compelling and realistic. For 2012, this is beyond what most artists can ever hope to achieve. Being Relevant.
So for as much as I like wishing for imaginary perfection, I see real perfection in this album. No other Tull album has felt this cool since the early seventies and may never again. I may be an ordinary guy to many who like Tull through thick and thin. Or I may have gotten caught up in the marketing strategy that EMI and others devised. But this has more style and substance than just about any Tull album since 1973.
My point is: if it walks like a Tull and talks like a Tull, and Rocks like a Tull album, it's Tull.
Re: TJTB's 'Official' Review of TAAB2 « Reply #4 on Apr 22, 2012, 5:32pm »
Just got back from the TAAB gig at Manchester's Opera house, thoroughly enjoyed it and was the first time listening to the album. I'd give it five stars, but it is most definitely an Ian Anderson and not a Tull album, on listening I could hear influences from Ian's solo work such as Divinities & Secret language, and was missing the other members of the band. Martin was most conspicuous by his absence, Doane and the others lent a little a humour, which was also missing, apart from that I'd give the gig a five star.
I would like to say how much I respect Greg's honest review of this album. He has made a sincere effort to explain his feelings and gives a very persuasive discussion. For many points he has a strong grasp of Tull history to back up his criticism.
Here is where I differ. For all the years I have seen Tull, Ian remains the biggest part of what Tull is.
Quote:That there are no band members from the original album to mark the passing of years and offer continuity is perhaps the greatest mistake Ian Anderson made: this is an approximation of Jethro Tull, but it aint “Tull”.
Perhaps we all want to feel Ian owes Martin or John or Barriemore or Jeffrey a piece of this. To me, "Thick as a Brick" while being a collaboration, is still the idea of someone named Ian Anderson. I cannot expect him to collaborate with musicians just for historical continuity. While it would be grand to see such a performance, I don't believe it would not change a thing. Everyone would still be critical of why someone would be left out such as John Evan or Jeffrey Hammond.
This is a concept album with TEETH. The stories are compelling and realistic. For 2012, this is beyond what most artists can ever hope to achieve. Being Relevant.
So for as much as I like wishing for imaginary perfection, I see real perfection in this album. No other Tull album has felt this cool since the early seventies and may never again. I may be an ordinary guy to many who like Tull through thick and thin. Or I may have gotten caught up in the marketing strategy that EMI and others devised. But this has more style and substance than just about any Tull album since 1973.
My point is: if it walks like a Tull and talks like a Tull, and Rocks like a Tull album, it's Tull.
And lets just look at the cogent facts. Jeffrey Hammond, last touched a bass in 1975 and...left the band of his own volition. John Evan, has not played piano in what, 30 years? And now cannot because of some condition in his hands and....left the band of his own volition. Barrie Barlow left the band, well you know the routine, don't want to say that word again. And apparently as a result in part of unhappiness over IA not paying for John Glascock's funeral. I heard IA address this very situation a year or two ago, and as with all human interaction, more than one viewpoint in the deck, though I can be darned if I remember what he said, or am going to be googling it. Heretofore I had "only" been giving TAAB2 4 stars, after hearing the utterly precise reading of it from the show in Newcastle, so reminiscent of my impression seeing Tull live for the first time in June of 72, I now place it directly alongside of TAAB1 as the greatest composition to come from IA. Delighted to hear Jeffrey made an appearance, I am sure you would have mentioned it if he did his Ian is playing a rhythmic link sequence bit from the original show, to me the apex of the first performance, something at the outset not even musical.
Joined: Dec 2010 Gender: Male Posts: 7 Location: Southern California
Re: TJTB's 'Official' Review of TAAB2 « Reply #6 on Apr 22, 2012, 5:51pm »
To echo Beltane's comment...a very comprehensive and thoughtful review by Greg who, quite clearly, knows and appreciates Tull.
Like Greg, I have been an ardent fan since the '70s and TAAB was the first of my 10 Tull concerts.
Like so many bands with the longevity of Tull, it's difficult (at best) to maintain the high quality of their classics (TAAB, Aqualung, etc) but, IMHO, there have been many more hits than misses over the years.
TAAB2 didn't bowl me over on first listening but, I'm happy to report that it has grown on me to where I can say that I really like this album!
Is it as good as TAAB? To agree with Greg once again...how could it be? Such is the downfall of writing a sequel to a classic. But, taken on its own account, TAAB2 is holding up nicely and will continue to receive spins at home and in the car.
Re: TJTB's 'Official' Review of TAAB2 « Reply #7 on Apr 22, 2012, 6:35pm »
Reading the review and the subsequent replies makes me wonder what I've missed. The promises of AA say "we shall not regret the past nor wish to close the door on it." I just tried to listen to the album on it's own and quite simply love it!! After listening to it the first time I gave it a standing ovation, which made a few people wonder about my promises. I can understand now why Ian has no interest in any new JT recordings. On it's own I thought it sounded great, perhaps being the same age as Gerald Bostock I can relate to my own what ifs, maybes, and might have beens. I hope people let it stand on its own. It's a great album no matter who gets the credit, JT or IA. Looking forward to Martin Barre's new work soon.
I would like to say how much I respect Greg's honest review of this album. He has made a sincere effort to explain his feelings and gives a very persuasive discussion. For many points he has a strong grasp of Tull history to back up his criticism.
Here is where I differ. For all the years I have seen Tull, Ian remains the biggest part of what Tull is.
Quote:That there are no band members from the original album to mark the passing of years and offer continuity is perhaps the greatest mistake Ian Anderson made: this is an approximation of Jethro Tull, but it aint “Tull”.
Perhaps we all want to feel Ian owes Martin or John or Barriemore or Jeffrey a piece of this. To me, "Thick as a Brick" while being a collaboration, is still the idea of someone named Ian Anderson. I cannot expect him to collaborate with musicians just for historical continuity. While it would be grand to see such a performance, I don't believe it would not change a thing. Everyone would still be critical of why someone would be left out such as John Evan or Jeffrey Hammond.
This is a concept album with TEETH. The stories are compelling and realistic. For 2012, this is beyond what most artists can ever hope to achieve. Being Relevant.
So for as much as I like wishing for imaginary perfection, I see real perfection in this album. No other Tull album has felt this cool since the early seventies and may never again. I may be an ordinary guy to many who like Tull through thick and thin. Or I may have gotten caught up in the marketing strategy that EMI and others devised. But this has more style and substance than just about any Tull album since 1973.
My point is: if it walks like a Tull and talks like a Tull, and Rocks like a Tull album, it's Tull.
Dammit Jim, I'm only a doctor! No wait, wrong discussion. As always I respect your opinion, Jim (even if you're so damn liberal )
I attempted to restrain my usual intense subjectivity, and tried to not only be objective, but view the entire project from outside Tull fandom (in fact, offering historical tidbits that most folks are quite aware of here already). I have looked at quite a few reviews from different sources, and many have been quite laudatory regarding Ian's release, but all the while divorcing the album from the original Thick as a Brick. From about 25-30 reviews I read, the consensus is right around 4 stars (the rating I eventually landed on as well - as an Ian solo album).
But straying from the zealousness of Tullites, nearly every review bemoaned the fact that TAAB2 a) was attached like a barnacle to Thick as a Brick, b) did not include Martin Barre, c) had Opahle mimicking Barre throughout the entire proceeding, d) was very subdued, and the drums and bass were flat, e) didn't use Jeffrey Hammond-Hammond's pick-style bass playing (ROFL!), f) would have been better if Ian Profusely apologized to Barriemore Barlow and had him play instead of a metronome, and g) that it was an Ian Anderson solo album, not a Tull album.
I basically concur (except for Hammond's bass playing). It is a very good/excellent Ian solo project, but it is not Tull, which is why I referred folks to listen to the 4-5 tracks from Rupi's Dance. If you remove the Thick as a Brick references altogether, it is indeed Rupi2. And that's okay, really! Ian could well have made himself "relevant" on his own terms, rather than piggybacking on previous glory (insert snide cheapskate comment regarding Ian not having to pay actual band members, but for-hire musicians at union scale ).
As far as TAAB2 having "more style and substance than just about any Tull album since 1973", if I'm going to a desert island, and could only choose seven Tull albums from 1973 on, it would be the set from A Passion Play to Stormwatch. But I might replace Too Old to Rock and Roll for A Crest of a Knave. But truthfully, I wouldn't put TAAB2 on the same level as Crest of a Knave. Would you?
And be honest, Jim, wouldn't you have shit your pants if at the last minute it was revealed that both Barrie Barlow and Martin Barre were making the album? Now that would be something!
And lets just look at the cogent facts. Jeffrey Hammond, last touched a bass in 1975 and...left the band of his own volition. John Evan, has not played piano in what, 30 years? And now cannot because of some condition in his hands and....left the band of his own volition. Barrie Barlow left the band, well you know the routine, don't want to say that word again. And apparently as a result in part of unhappiness over IA not paying for John Glascock's funeral. I heard IA address this very situation a year or two ago, and as with all human interaction, more than one viewpoint in the deck, though I can be darned if I remember what he said, or am going to be googling it. Heretofore I had "only" been giving TAAB2 4 stars, after hearing the utterly precise reading of it from the show in Newcastle, so reminiscent of my impression seeing Tull live for the first time in June of 72, I now place it directly alongside of TAAB1 as the greatest composition to come from IA. Delighted to hear Jeffrey made an appearance, I am sure you would have mentioned it if he did his Ian is playing a rhythmic link sequence bit from the original show, to me the apex of the first performance, something at the outset not even musical.
First, John Evan doesn't have a "condition" with his hands. He said his fingers "were rusty" from lack of practice. Barriemore Barlow still plays. And you didn't mention Martin Barre at all. From what I've heard around town, Martin can still pick up a pick!
As far as your comment "I now place it directly alongside of TAAB1 as the greatest composition to come from IA", although I appreciate your enthusiasm, I think it's safe to say that albums like Aqualung, Minstrel in the Gallery, Songs from the Wood, Stand Up, A Passion Play, Heavy Horses, War Child, etc., are far greater albums - and Ian could sing then as well. But, to each his own. And this is the spot to write your own review!
As I said, best solo album Ian ever made. Four stars.
And your little sister's immaculate virginity wings away on the bony shoulders of a young horse named George, who stole surreptitiously into her geography revision...
"There is only one real sin and that is to persuade oneself that the second best is anything but second best."Doris Lessing
"If you agree with me on nine out of twelve issues, vote for me. If you agree with me on twelve out of twelve issues, see a psychiatrist."Ed Koch
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Re: TJTB's 'Official' Review of TAAB2 « Reply #10 on Apr 22, 2012, 8:23pm »
Actually, if I get my ass in gear, and I may not, I am writing my first relatively professional review of this for someone who's page I have forgotten. Frankly I have read so many reviews and written so much myself that I do not care to write another play by play account, I know I don't want to read it. But as to this first, re Morthoron," John Evan doesn't have a "condition" with his hands. He said his fingers "were rusty" from lack of practice. Barriemore Barlow still plays. And you didn't mention Martin Barre at all. From what I've heard around town, Martin can still pick up a pick!" As to John Evan I know I have read here or there, probably a few spots of some arthritic conditon or some such. In any case I do recall on more than one occasion he was offered his old position back, and had decided to leave well before ye olde unfortunate press announcement. And frankly in such interviews as I have seen with him, which I realize may hardly be indicative of his actual character, he comes off as a bitter and sullen individual. I will allow that he and Jeffrey were the most difficult to replace from a extra musical perspective, but no one can doubt that he was the least competent of any of their bass players, (in that he is not really a musician at all)but he was some sort of Tull genius. As to any of that seventies crew having been hands down, no questions asked the best at their respective positions in the history of the band, I would heartily disagree. The following keyboardists from Evan are most different musically in the signifigant respect that not a one of them got to play grand piano or Hammond organ within Tull until now, which of course starts the comparisons that O Hara sounds like Evan, he doesn't, he sounds like himself. Ditto Florian as perfectly illustrated the other night in Newcastle, definitely his own voice, with a back seat mostly offered out of respect to Martin Barre, but believe me he is well within striking distance, he's in the damn house. At no point did I ever say Barrie Barlow was no longer a player, merely that he left Tull very much by his own decision. Martin, have not read the A New Day view, but last I knew he did not want to do the record. If he is saying otherwise in A New Day or elsewhere, certainly would want to hear IA's side too, as one would in any sane court of opinion. Then finally, I don't care! Ian has had so many wonderful musicians with him regardless of speculation on his alleged eyes to their bottom line costs. And as a betting man I like my chances were it possible to ascertain Martin Barre's visibility had he never met Ian Anderson, my money says it would be alot lower, limited as it may be in 2012. There is one and one only crucial component to the history of Ian Anderson's vision, and that is the man himself, as with all great composers, he knows how to hire his colorists, and his musical vision is such that I am not surprised much of his audience writes off much of his output, misguided though they may be. And true enough that we each perceive his craft with our own antennae, as in no wise would I place Minstrel, A Passion Play or War Child, all of which I had the first day of release, within screaming distance of TAAB2, and would mark his 2 most recent solo records, all 3 post 95 Tull albums, (yes including Dot Com and very definitely the Christmas Album) and the orchestral one all the superior of that trio of records from the heyday, far more famous and welcome I am not doubting, but I find high highs and low lows which make me perceive them as more inconsistent, though the shows were jaw droppers. Even LWTP I much prefer to LITP, for the same reasons, more consistent. Sorry, in knowing a bit about actual classical piano playing, forgive me for finding John Evans efforts on that live side to be a waste of space, even in the spirit of the age or rock and roll, grandstand amateurish.
And true enough that we each perceive his craft with our own antennae, as in no wise would I place Minstrel, A Passion Play or War Child, all of which I had the first day of release, within screaming distance of TAAB2, and would mark his 2 most recent solo records, all 3 post 95 Tull albums, (yes including Dot Com and very definitely the Christmas Album) and the orchestral one all the superior of that trio of records from the heyday, far more famous and welcome I am not doubting, but I find high highs and low lows which make me perceive them as more inconsistent, though the shows were jaw droppers. Even LWTP I much prefer to LITP, for the same reasons, more consistent. Sorry, in knowing a bit about actual classical piano playing, forgive me for finding John Evans efforts on that live side to be a waste of space, even in the spirit of the age or rock and roll, grandstand amateurish.
Interesting. I would suggest you are definitely in a minority in your overall opinion. But that's okay. After all, someone had to buy all the excess stock of J-Tull Dot Com albums moldering in the warehouse.
And your little sister's immaculate virginity wings away on the bony shoulders of a young horse named George, who stole surreptitiously into her geography revision...
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Re: TJTB's 'Official' Review of TAAB2 « Reply #12 on Apr 22, 2012, 9:53pm »
Quote:
There is a fire in Thick as a Brick that cannot be found in TAAB2. From a compositional theory standpoint, I suppose one could say that there is a fundamental difference between the explosive passion of youth and the banked embers of middle age, which match the child prodigy and the stodgy 50-year-old. But let’s be honest, we don’t necessarily make philosophical differentiations between two albums, we compare the music and musicians.
Greg, I love this observation...
Everybody needs to feel that passion of youth - once again.
Ian probably felt it while making this record, but experience makes it simply unattainable.
Re: TJTB's 'Official' Review of TAAB2 « Reply #13 on Apr 22, 2012, 10:40pm »
I was listening to TAAB2 on my way to meet with friends earlier this evening and I repeat it's an excellent album. Living in the Past is an awesome song but it's a shitty mindset. TAAB2 is what it is and it is a terrific JT/IA album and the musicianship is fantastic. I wish I had the intellect and the vocabulary to compete with you folks, I'm just a dumb hillbilly who likes what he hears. But then again all I've ever asked of JT/IA or any other band/musician is to take me away for a little while on their musical journey. Ian's work with cat rescue is more relevant than his catchy tunes. Again, reading all of you I understand why IA has no interest in doing another JT album.
I was listening to TAAB2 on my way to meet with friends earlier this evening and I repeat it's an excellent album. Living in the Past is an awesome song but it's a shitty mindset. TAAB2 is what it is and it is a terrific JT/IA album and the musicianship is fantastic. I wish I had the intellect and the vocabulary to compete with you folks, I'm just a dumb hillbilly who likes what he hears. But then again all I've ever asked of JT/IA or any other band/musician is to take me away for a little while on their musical journey. Ian's work with cat rescue is more relevant than his catchy tunes. Again, reading all of you I understand why IA has no interest in doing another JT album.
Your voice is just as important as anyone else's so don't sell yourself short.
Ian chose to make a sequel to arguably Tull's greatest album so comparisons are fair game as far as I'm concerned.
While TAAB2 is a very good album, I can't help think about the what-haves, and might-have-been's.
Ex-Tull members would have loved to be a part of this record. Not sure why anyone would be against that.
Re: TJTB's 'Official' Review of TAAB2 « Reply #15 on Apr 23, 2012, 12:52am »
Questions from me include:
Are you Glad you bought it: Yes
Has it grown on you: Yes
Is it anything like TAAB?: Not really
Would you buy it again?: No BUT I am glad I did buy it but would not recommend the Album to anyone I know save new Ian era Solo fans.
I do wish Ian would just Play Solo Material and not hide under the Tull name and legacy (TABB 1) to sell music to the original fans.
I will travel to make a few concerts only because it's now a habit. I do wish Ian would retire and leave us with the good memories.
It's sad to see Ian fumble so much and I really don't understand why he still feels the need to tour and play on in this fashion. He is an excellent Flautist now and that work stood it's own. It's telling that since Ian learned to play flute properly Tull has taken a nosedive other than RTB and I'm wondering aloud if that was the last Trump from Jethro Tull?
Joined: Oct 2009 Gender: Male Posts: 264 Location: Monza,Italy.
Re: TJTB's 'Official' Review of TAAB2 « Reply #16 on Apr 23, 2012, 1:27am »
Reading very , very interesting. Also the observations. I already love TaaB 2, and want to say that Ian has been a lot " brave " to call It so, because we all know the new record it is much different by TaaB 1. Exposes it critics too easy. (not a lot justified, I believe) M.
Dammit Jim, I'm only a doctor! No wait, wrong discussion. As always I respect your opinion, Jim (even if you're so damn liberal )
Quote:
I attempted to restrain my usual intense subjectivity, and tried to not only be objective, but view the entire project from outside Tull fandom (in fact, offering historical tidbits that most folks are quite aware of here already). I have looked at quite a few reviews from different sources, and many have been quite laudatory regarding Ian's release, but all the while divorcing the album from the original Thick as a Brick. From about 25-30 reviews I read, the consensus is right around 4 stars (the rating I eventually landed on as well - as an Ian solo album).
Those 25 - 30 reviews are made by people that like being critical of everything. 4 stars from them is like a 5.
Quote:
But straying from the zealousness of Tullites, nearly every review bemoaned the fact that TAAB2 a) was attached like a barnacle to Thick as a Brick, b) did not include Martin Barre, c) had Opahle mimicking Barre throughout the entire proceeding, d) was very subdued, and the drums and bass were flat, e) didn't use Jeffrey Hammond-Hammond's pick-style bass playing (ROFL!), f) would have been better if Ian Profusely apologized to Barriemore Barlow and had him play instead of a metronome, and g) that it was an Ian Anderson solo album, not a Tull album.
This sounds more emotional than my wife telling me what happened on "Desperate Housewives".
Quote:
I basically concur (except for Hammond's bass playing). It is a very good/excellent Ian solo project, but it is not Tull, which is why I referred folks to listen to the 4-5 tracks from Rupi's Dance. If you remove the Thick as a Brick references altogether, it is indeed Rupi2. And that's okay, really! Ian could well have made himself "relevant" on his own terms, rather than piggybacking on previous glory (insert snide cheapskate comment regarding Ian not having to pay actual band members, but for-hire musicians at union scale ).
I love Rupi too. This ain't Rupi. Payscale is irrelevant to this album. Don't worry, everyone gets a raise.
Quote:
As far as TAAB2 having "more style and substance than just about any Tull album since 1973", if I'm going to a desert island, and could only choose seven Tull albums from 1973 on, it would be the set from A Passion Play to Stormwatch. But I might replace Too Old to Rock and Roll for A Crest of a Knave. But truthfully, I wouldn't put TAAB2 on the same level as Crest of a Knave. Would you?
The only desert island with electricity is called Gilligan's Island. Crest of a Knave? This one will have a Grammy too. The last Concept Album was 1973 until the one just released in 2012. Gerald got older like the rest of us.
Quote:
And be honest, Jim, wouldn't you have shit your pants if at the last minute it was revealed that both Barrie Barlow and Martin Barre were making the album? Now that would be something!
After the Manchester appearance last night, Jeffrey owes me some underwear!
Joined: Dec 2011 Gender: Male Posts: 0 Location: Canada
Re: TJTB's 'Official' Review of TAAB2 « Reply #19 on Apr 23, 2012, 7:36am »
Jim's view/posts rule as far as I am concerned.
Cheers!
Met a man just the other day, said his name was Jim. Boy, won't you take a look! Got a car for you it's a real steal. Cleaned it right down new brakes, clutch and here's the hook. Yes, it's a 4.W.D. (low ratio).
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