Second, if you listen closely to War Child, John Evan is playing a synthesizer mocked up to sound like an accordion, not an accordion on the album; thus, the tone is much richer, less reedy sounding. In any case, Evan's playing does not detract from the songs like O'Hara's squeezy thing. Every time I hear it, I expect Edith Piaf in a beret with a loaf of bread under her arm to come out and start singing "Sous le ciel de Paris". Or maybe Marcel Marceau doing a pantomime of Aqualung.
I happen to like Edith Piaf, but point taken---the songs are very different though, which I think accounts for the different styles of accordion. I beg to differ regarding the use of a synthesizer though--- John Evan is credited with playing the "piano accordion" on the War Child album and plays it well live on the video of Skating Away at the Hippodrome in 1977, so I have to disagree with you on that one. I forgot to mention a fourth song on the album he plays accordion on--Two Fingers.
One other point I forgot to add: I believe the original version of A Change of Horses featured Anoushka Shankar playing sitar instead of accordion? I heard Ian say in an interview that he hoped to get her to play on the album and that she coincidentally was on tour in England at the time they were recording the album, but he didn't want to trouble her during her tour. Bummer--that would have sounded nice...
Interesting piece, on the surface. Perhaps a bit too Living In The Past (2), for me.
It is well writen, but in many ways only scratches the surface, just enough to highlight his views, not support them. While these hings will always be subjective, depending on your view, and I think I have expressed mine, especially about the plyers involved and not, you can take many of his arguments and turn them to support the opposite view.
All in all, it does make you think, and feel, so an interesting, if not deep review.
Thank you for doing it.
I would thank you in return, but since you damn with faint praise, I see no point in civility.
I set a limit of 2000 words. If I wished to bore people silly, I could have delved into time signatures, tempo changes and eighth notes for another 2000 words. The piece regarded the concept for the most part, and talking points to allow greater discussion on this forum. I steadfastly maintain that Mr. Anderson did the music and the musicians a disservice by implementing this concept - and clearly, the musicians just go through their paces as hired musicians do working behind a solo artist. The cynic in me has more than an inkling that Ian was piggybacking on a far greater work in order to sell more albums.
And if one is objective, that is exactly what he did. Anderson has spent more on pre-release advertising and has been more visible shilling this album than on any release since the mid-70s. What is at issue is that he could have made this album without the allusions to Thick as a Brick, and it would have still been an excellent solo album; however, it would have been a blip on the Billboard 200, like his last ten albums or so.
If you would like to turn the arguments around, please try do so. I will argue with anyone while maintaining impeccable spelling and grammar.
Plus the music of TAAB2 fits the lyrical theme of each song very well, which makes it ultimately unique. No songs about cats and cappucino...
If you are looking for a 1972 sequel, players, age and all, then this is not that piece.
He did mention Starbucks a few times, and merely replaced the pussy with a pedophile. And I wasn't looking for a "1972 sequel", Ian brought that up, and quite loudly, all by himself. Ergo, the inevitable comparisons.
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...
Joined: Dec 2011 Gender: Male Posts: 15 Location: Brooklyn, N.Y.
Re: TJTB's 'Official' Review of TAAB2 « Reply #42 on Apr 24, 2012, 1:04am »
This is a well-written and fair review. Like someone else posted, "Wootton" and "Banker" deserve at least a mention. After seeing some recent live clips on youTube, I must reiterate that I am overjoyed that Ian has AT LONG LAST added some vocal help, and the additional vocals really come to the fore on the classic "Thick" in concert. BTW, I'm still liking the new album more every day...and I agree that it's definitely Ian's best solo album.
Sun goes 'round the moon / It's a World of Phantoms
Darin Cody Official JTB Flautist member is offline
"He catches angels by the balls!"
Joined: May 2012 Gender: Male Posts: 789
Re: TJTB's 'Official' Review of TAAB2 « Reply #43 on Apr 24, 2012, 2:01am »
One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back.
Good work Morthoron.
I, on the other hand happen to agree with most all of the "official" 2000 words. Nice arc to your points, just when I'd start to feel uneasy about the direction you were heading, your point would swoop in and I'd get it. Nice job Greg.
I have been struggling with all the back and forth here as to whether this is "Tull" without Martin, an Ian solo work, how it does or doesn't stack up against the original, and so on and so on and.. I'm afraid my discomfort with all this is with the complex problem that Ian has presented us. He has done a sequel, as a "solo artist" of a very large piece of Tull's. Now when I say Tull, thats a group, not just Ian. Even if a lot of people like to go over the top saying "Ian is Tull!" it is just not the case. When Ian writes (or wrote) songs he is writing lyrics to sometimes just simple chording put forth on his guitar. In the context of the 1972 group he would present it to John, Martin and Barrie (not discounting Jeffery, I just dont think he was a musical "driver") and they would throw musical ideas back and forth with Ian and arrive at something as a group..... in the same room. Many times Ian has said that the complex musical arrangements (the "trouble" as he put it) came about when he'd left the room! I think that people wrongly credit Ian with the "arrangements". Even though the band is most always credited that way on albums, I believe a lot of people dont have a true grasp of what that means. These guys made TAAB sound the way it sounds. John and Barries musical input cannot be understated. If there was a time signature change, odds are Barrie was behind it (or helped disguise it!). John was a very musically sophisticated player and probably schooled Ian more than vice a versa. The musical product that was TAAB of 1972 was very, very much a group effort. They didn't just take musical instruction from Ian. Now.... The Ian of today, the 65 five year old singer/songwriter with a scratchy voice, and disposition. This Ian has become comfortable writing in his own space and handing out parts to some very competent musicians. Guys that he has become used to dealing with. At 65, comfort cannot be underrated I'm sure! These guys are not all old school chums that are a "band". These guys are together because Ian has hired them for his project. They are not there to push and pull Ians ideas around to suit there own tastes, musical strengths or make it into something this way or that. They are being paid to execute Ians ideas, and Ians ideas alone! I suspect that the problems with some of Ian's earlier solo efforts (SLOB and Rupi) stem from having no collaborator or foil. No sounding board to help him polish his basic song form and musical ideas. Of course his lyics are, as always, all his. "Walk Into Light" had Vettesse, "Divinities" had Giddings and "A" had Jobson. These 3, I think many here would agree, are far stronger than SLOB or Rupi's" I'm betting the better tracks on TAAB 2 benefit very much from his working with this "unit" over the last few years. All that said, THE CONCEPT of TAAB2 is in the lyric! The concept, the story of Gerald and "What If's, Maybes and Might've Beens" is, to my tired old head, excellent, very clever and even poignant. The concept is the content here. The music has been paired down to basics here service the story. It reminds me more of an actual play. This is probably the most straight forward ideas Ian has ever put forth, kind of surprising given what that he's following up TAAB. Comparing who's not playing the Hammond like John Evan or the lack of Martin's "style" in Florians playing is absolutely useless! It doesn't mean a thing. 1972 was a loooong time ago and "Tull" or Ian will never sound that particular way again. It was the chemistry and musicianship of a certain five guys in their early twenties that produced that wonderful stuff. I will take this as it is..... Ian using his usual talents and putting them forth in the situation he's in TODAY. So far I like it myself.......the "buzz" is kind of nice too......I mean all the news. Ian could stop doing interviews for a bit now, I usually eat up his interviews but I've found myself skipping through them lately, too many too..... Now, I'll wait to see it for myself (just down the street, in the 9th row) and that's just around the corner..........in October(!) Darin Cody
and don't ever challenge Greg without your spell check on!!! Callooh! Callay!' He chortled in his joy.
Joined: Oct 2009 Gender: Male Posts: 268 Location: Monza,Italy.
Re: TJTB's 'Official' Review of TAAB2 « Reply #44 on Apr 24, 2012, 5:09am »
Hi to All. In Italy we have been very lucky because we have had much dates for the I.A or J.T concert every years . Probably it works well, because there is an important and meaningful new for we Fans. In a special one that classifies music "TV Smiles and Songs", for many years there were no Tull albums. Thick as a Brick 2 is now listed at #45 in Italy. I am very happy for this. M.
This is a well-written and fair review. Like someone else posted, "Wootton" and "Banker" deserve at least a mention. After seeing some recent live clips on youTube, I must reiterate that I am overjoyed that Ian has AT LONG LAST added some vocal help, and the additional vocals really come to the fore on the classic "Thick" in concert. BTW, I'm still liking the new album more every day...and I agree that it's definitely Ian's best solo album.
One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back.
Good work Morthoron.
I, on the other hand happen to agree with most all of the "official" 2000 words. Nice arc to your points, just when I'd start to feel uneasy about the direction you were heading, your point would swoop in and I'd get it. Nice job Greg.
I have been struggling with all the back and forth here as to whether this is "Tull" without Martin, an Ian solo work, how it does or doesn't stack up against the original, and so on and so on and.. I'm afraid my discomfort with all this is with the complex problem that Ian has presented us. He has done a sequel, as a "solo artist" of a very large piece of Tull's. Now when I say Tull, thats a group, not just Ian. Even if a lot of people like to go over the top saying "Ian is Tull!" it is just not the case. When Ian writes (or wrote) songs he is writing lyrics to sometimes just simple chording put forth on his guitar. In the context of the 1972 group he would present it to John, Martin and Barrie (not discounting Jeffery, I just dont think he was a musical "driver") and they would throw musical ideas back and forth with Ian and arrive at something as a group..... in the same room. Many times Ian has said that the complex musical arrangements (the "trouble" as he put it) came about when he'd left the room! I think that people wrongly credit Ian with the "arrangements". Even though the band is most always credited that way on albums, I believe a lot of people dont have a true grasp of what that means. These guys made TAAB sound the way it sounds. John and Barries musical input cannot be understated. If there was a time signature change, odds are Barrie was behind it (or helped disguise it!). John was a very musically sophisticated player and probably schooled Ian more than vice a versa. The musical product that was TAAB of 1972 was very, very much a group effort. They didn't just take musical instruction from Ian. Now.... The Ian of today, the 65 five year old singer/songwriter with a scratchy voice, and disposition. This Ian has become comfortable writing in his own space and handing out parts to some very competent musicians. Guys that he has become used to dealing with. At 65, comfort cannot be underrated I'm sure! These guys are not all old school chums that are a "band". These guys are together because Ian has hired them for his project. They are not there to push and pull Ians ideas around to suit there own tastes, musical strengths or make it into something this way or that. They are being paid to execute Ians ideas, and Ians ideas alone! I suspect that the problems with some of Ian's earlier solo efforts (SLOB and Rupi) stem from having no collaborator or foil. No sounding board to help him polish his basic song form and musical ideas. Of course his lyics are, as always, all his. "Walk Into Light" had Vettesse, "Divinities" had Giddings and "A" had Jobson. These 3, I think many here would agree, are far stronger than SLOB or Rupi's" I'm betting the better tracks on TAAB 2 benefit very much from his working with this "unit" over the last few years. All that said, THE CONCEPT of TAAB2 is in the lyric! The concept, the story of Gerald and "What If's, Maybes and Might've Beens" is, to my tired old head, excellent, very clever and even poignant. The concept is the content here. The music has been paired down to basics here service the story. It reminds me more of an actual play. This is probably the most straight forward ideas Ian has ever put forth, kind of surprising given what that he's following up TAAB. Comparing who's not playing the Hammond like John Evan or the lack of Martin's "style" in Florians playing is absolutely useless! It doesn't mean a thing. 1972 was a loooong time ago and "Tull" or Ian will never sound that particular way again. It was the chemistry and musicianship of a certain five guys in their early twenties that produced that wonderful stuff. I will take this as it is..... Ian using his usual talents and putting them forth in the situation he's in TODAY. So far I like it myself.......the "buzz" is kind of nice too......I mean all the news. Ian could stop doing interviews for a bit now, I usually eat up his interviews but I've found myself skipping through them lately, too many too..... Now, I'll wait to see it for myself (just down the street, in the 9th row) and that's just around the corner..........in October(!) Darin Cody
and don't ever challenge Greg without your spell check on!!! Callooh! Callay!' He chortled in his joy.
Joined: Apr 2012 Gender: Male Posts: 11 Location: Mohave Desert
Re: TJTB's 'Official' Review of TAAB2 « Reply #50 on Apr 24, 2012, 10:51am »
Audacity and humility are the seemingly contrary ingredients of great, enduring art, and IA has both of those traits in spades.
Ultimately, while I have written many critiques and read thousands, critics of any stripe, be they wise, objective, scholarly, or just plain third-rate, vitriolic, jealous, and vindictive (which defines most paid critics), the great artist is orders of magnitude above the judgmental masses who seethe and writhe below, wanting to be heard, wanting to somehow matter in the world.
Of course, I am one of those seethers and writhers, and I know it. Some are, and do not, which is very sad.
« Last Edit: Apr 24, 2012, 10:54am by Bill Baurle »
Re: TJTB's 'Official' Review of TAAB2 « Reply #51 on Apr 24, 2012, 12:39pm »
I've enjoyed reading all these comments. Personally, although a big fan of some 20 years, I don't have a musician's "ear" and must admit I am oblivious to what Martin's playing brings to the material that Florian's doesn't and the bottom line for me is TAAB2 is a great album - more enjoyable than most Tulll albums released in the past 30 years. No, it's not as brilliant as the original Brick or A Passion Play or Minstrel or Songs from the Wood but nevertheless better than I ever expected to hear from IA/Tull again - so what's to complain about?
Audacity and humility are the seemingly contrary ingredients of great, enduring art, and IA has both of those traits in spades.
I have never in my life heard anyone use the word "humility" and Ian Anderson in the same sentence, let alone refer to him in that unlikely manner. If he were 'umble, guv'nor, I 'spect he'd 'ave done quoite a few things a' might differently - if'n you get me meanin'.
Ultimately, while I have written many critiques and read thousands, critics of any stripe, be they wise, objective, scholarly, or just plain third-rate, vitriolic, jealous, and vindictive (which defines most paid critics), the great artist is orders of magnitude above the judgmental masses who seethe and writhe below, wanting to be heard, wanting to somehow matter in the world.
Of course, I am one of those seethers and writhers, and I know it. Some are, and do not, which is very sad.
It's nice that you know your place. But don't assume the intentions of others. It aint 'umble.
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...
I've enjoyed reading all these comments. Personally, although a big fan of some 20 years, I don't have a musician's "ear" and must admit I am oblivious to what Martin's playing brings to the material that Florian's doesn't and the bottom line for me is TAAB2 is a great album - more enjoyable than most Tulll albums released in the past 30 years. No, it's not as brilliant as the original Brick or A Passion Play or Minstrel or Songs from the Wood but nevertheless better than I ever expected to hear from IA/Tull again - so what's to complain about?
How about Barrie Barlow - can you hear the difference with and without Barrie?
Barrie was a musical drummer whereas most are just beat keepers.
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. Probably it works well, because there is an important and meaningful new for we Fans. In a special one that classifies music "TV Smiles and Songs", for many years there were no Tull albums.
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Ian won't but I will. 
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