Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 7, 2009 5:46:16 GMT -5
To me, Broadsword and the Beast has been one of the most (if not the most) intense and stormiest albums Tull has put out. It has such a dark, rainy, and beautiful critique of society. I really do believe it is an amazing piece of artwork that reveals such a truthful view of the world that is rarely given to anyone by anything else. (like many Tull albums do) Unfortunately, this album is mostly ignored by the changing trends, generations, and time in general. A lot of my friends who I've turned on to Tull cannot seem to grasp this album because of the synth work, probably thinking that someone would think they were uncool if they were to catch them listening to this. I'd like to hear other people's views on this particular album
|
|
|
Post by Mothfairy on Nov 8, 2009 0:07:54 GMT -5
It really is like one of those albums you wouldn't want the world to hear you listening to, it could be a little embarrassing...haha, well actually...I love most of it but there's a couple songs on Broadsword I don't care for...but the CD will play over and over in my car..but what I do like on Broadsword, I feel like I can totally empathize with the words....
|
|
|
Post by Nonfatman on Nov 8, 2009 9:54:33 GMT -5
To me, Broadsword and the Beast has been one of the most (if not the most) intense and stormiest albums Tull has put out. It has such a dark, rainy, and beautiful critique of society. I really do believe it is an amazing piece of artwork that reveals such a truthful view of the world that is rarely given to anyone by anything else. (like many Tull albums do) Unfortunately, this album is mostly ignored by the changing trends, generations, and time in general. A lot of my friends who I've turned on to Tull cannot seem to grasp this album because of the synth work, probably thinking that someone would think they were uncool if they were to catch them listening to this. I'd like to hear other people's views on this particular album I'll definitely add my thoughts in the next day or two. Got some stuff to do today, though. Jeff
|
|
Bwanabob
One of the Youngest of the Family
Posts: 66
|
Post by Bwanabob on Dec 11, 2009 19:49:29 GMT -5
I love this album and wished that when the remaster came out that all the unused material was added, not just "enough to keep it a single disk". Because, who are we kidding, who is going to buy this disk, someone who's never heard of Tull, or a die-hard fan? Hell, Bursting Out is a 2CD set, so it should be with Broadsword & the Beast
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 12, 2009 18:06:52 GMT -5
I love this album and wished that when the remaster came out that all the unused material was added, not just "enough to keep it a single disk". Because, who are we kidding, who is going to buy this disk, someone who's never heard of Tull, or a die-hard fan? Hell, Bursting Out is a 2CD set, so it should be with Broadsword & the Beast I totally agree, although the bonus tracks on that disc have to be some of the best bonus tracks ever released by any artist on any album (both in quality and quantity).
|
|
Cup of Wondering
Claghornist
Teacher
"I tried to catch my eye but I looked the other way"
Posts: 48
|
Post by Cup of Wondering on Dec 13, 2009 16:33:23 GMT -5
This album is one of my favourites. Broadsword is one of Ian's most monumental and sturdy rock songs, while Seal Driver brings back memories of Black Satin Dancer. It was conceived in a time when Ian's creativity was at full force. Several; songs were left out, due to the vinyl format in those days. But the remasterd version has it all, thank God. The album however didn't do very well in the US., while in Germany, the UK, Holland and Italy it was very popular. I don't know why, but it might have to do with the lyrics that heavily lean on Western European folk tradition. Another reason might be that Ian critisizes the Reagan-Thatcher era that proved to be a disaster for Europe. I don't how that era was for most Americans. Can anyone shine a light on this? I did some research on the album you might like: www.cupofwonder.com/broadsw2.htmlCheers, Jan
|
|
|
Post by bobo the monkey on Dec 13, 2009 17:05:06 GMT -5
Seal Driver, Pussy Willow and The Clasp SOOOO stand the test of time.
|
|
|
Post by Nonfatman on Dec 13, 2009 19:27:23 GMT -5
This album is one of my favourites. Broadsword is one of Ian's most monumental and sturdy rock songs, while Seal Driver brings back memories of Black Satin Dancer. It was conceived in a time when Ian's creativity was at full force. Several; songs were left out, due to the vinyl format in those days. But the remasterd version has it all, thank God. The album however didn't do very well in the US., while in Germany, the UK, Holland and Italy it was very popular. I don't know why, but it might have to do with the lyrics that heavily lean on Western European folk tradition. Another reason might be that Ian critisizes the Reagan-Thatcher era that proved to be a disaster for Europe. I don't how that era was for most Americans. Can anyone shine a light on this? I did some research on the album you might like: www.cupofwonder.com/broadsw2.htmlCheers, Jan Thanks for the link, Jan. I know I am among a tiny minority of Tull fans, but Broadsword is one of my least favorite Tull albums. The vocals were so nasally on that album, and the production so slick. I do like The Clasp and Slow Marching Band a lot, but can't stand Beastie and Watching You, Watching Me. The rest of the stuff is okay, but I think that many of the other songs from those sessions was superior, like Jack A Lynn, Too Many Too, I'm Your Gun, Kelpie and No Step. For my money A was the better album, a serious piece of progressive rock that was a true heavyweight Tull album. It seemed dated for awhile but has taken on a new relevance for me after 9/11. And I loved Eddie Jobson's work on A, which was the last Tull album that had any strings (except for the Sanders bit on Budapest.) Jeff
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 13, 2009 21:15:47 GMT -5
The album however didn't do very well in the US., while in Germany, the UK, Holland and Italy it was very popular. I don't know why, but it might have to do with the lyrics that heavily lean on Western European folk tradition. Another reason might be that Ian critisizes the Reagan-Thatcher era that proved to be a disaster for Europe. I don't how that era was for most Americans. Can anyone shine a light on this? That definitely may have to do with politics and mentality. Forgive me for speaking about a time period of which I wasn't even alive to see, but the 80's in America seem to have been a time that brang the beginnings of increased materialism, the decline of interest in ecological sustunaibility, Reaganomics and all that--something that the harsh (and all too true) social critique of Broadsword and the Beast definitely did not sympathize with. I do think the album has a very present European folklore theme as well.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 19, 2009 8:56:42 GMT -5
Broadswoard and the Beast was interesting in a lot a ways the stage show was of a ship and Ian dressed as an old pirate and had the crew to match, I saw the show two times in the states. I am lucky I have 15 shows of this tour and find listening to this, often for a few reasons. First it was a great show a second it was one of the last time Ian had a strong voice. Now witht that said the album The Regan years put more American to work as the Carter years had unemployment up to 15 % to 18% and Regan did things to help Capitalism thrieve to help the economy. So in the US things were starting to turn around econimically.But songs like Clasp which I find unique because the way Ian described was to show that didnot have a gun. Slow Marching Band is like a bad relation on it is last leg and and just so Ian Anderson
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 30, 2009 3:34:00 GMT -5
Well Materialism will certainly help Capitalism for a short period of time--ofcourse, people buy things. But I was talking about ecological sustainability, not economical sustainability But I think the message of the album was not about unemployment rate, but instead about how healthy our way of relating to each other really is. Carter, Regan, Bush, Obama, Democrat, Republicans, they all work for the same bankers (Federal Reserve), which is the situation with many countries with centralized governments and banks, like England. The politicians and presidents are only puppets or parrots that entertain the people, hence the lyric "Meeting as good statesmen do, before the TV eyes of millions, hand to hand exchange the lie, pretend to make the Clasp" Many of Ian's other lyrics on this album and on other albums mirror this same point.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 31, 2009 14:04:34 GMT -5
Wow Eddie baby Jobson...never been a fan of Jobson with Tull ( with other artist OK)thought too much of himself and not enough of the end product in my opinion. But Broadsword is an album the works on you. I think there a some great songs Flying Colours, Slow Marching Band, came to mind right off the top my head then there was The Clasp, and Broadsword are decent songs. I will say I do agree with Fatman about the nasally vocals but I do think it is a overall good album
|
|
|
Post by anesthetize on Jun 19, 2010 14:33:50 GMT -5
I would have to say that Broadsword is my favorite Tull album. I love everything about it!
|
|
marcm
Claghornist
Posts: 18
|
Post by marcm on Jun 20, 2010 16:56:03 GMT -5
Well, my avatar says it all, doesn't it ? Huh.. not, I just love the imagery going with it. Definitely my favourite Tull sleeve cover. This said, for years and years it was my favourite Tull album, and as I said, it was the 1st which I bought along with Aqualung, the same day of 1982. Quite often, we tend to prefer the first LP that we bought of a band that we love ; it has a "special flavour", isn't it ? After a while, I finally became more in love with "Heavy Horses", and even with "Stormwatch". I never ever understood the crap about why all the other songs were not released at the time, and the so-called "limited length of the LP"... Many older Tull LP's are 42, 43 or 45-minute-long. Broadsword was hardly 38-mn-long ! So they could have at least added one or 2 more song, at least 1 on the B-side, which is too short. I loved the song "Broadsword" right from the start, that's when I said to the lady in the shop that she could stop the record and that I would buy it. There is a lot of synths on it but I think they sound more "organic" than on "A". This said, "Watching You Watching Me" is really synthetic... I didn't like this song very much, even now. My other favourite song on this record is a song that Ian discarded for the live stage (as too often... tsk.) : "Slow Marching Band" which is one of the most beautiful songs he wrote, in my humble opinion. He sings really well on it. With emotion. But I love them all, except "Watching Me Watching You". I really liked the electric guitar sound on it... The synthesizers had nice sounds for the most. But, I can understand that some Tull fans were annoyed by some synthetic textures... There isn't much flute nor acoustic guitar or mandolin on it either, compared to some albums of the 70's. Yet, it sound really folk/medieval to me, in the melodies. I think it is a tad deeper, more emotional than "A". Some of the lyrics are fairly complex to translate... Ian loved all those complex play of words... all those combinations of two words that are not usual. I worked on this many years ago but never managed to finish. I should go back to this now that I'm much better in English - ad that I know more about Ian's background and so on. What is funny is that behind the medieval imagery, the themes are sometimes political and pretty contemporary indeed. I'm so sad that the only song that Ian kept from it in live shows during the last 20 years or so is the 50 second-long "Cheerio" ! The remaster has -a last ! - a great sound. I think they shouldn't have added songs that are surprisingly close to the style of "Under Wraps", yet. There was better rare stuff to add, in the same style of the original album. "I'm your Gun", "Down at the End of Your Road" aren't on par with the rest. But there are such excellent extra tracks, like "Jack-a-Lynn" - a masterpiece- and "Mayhem Maybe".
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 7, 2010 23:08:14 GMT -5
Right on, anesthetize!
And marcm, Heavy Horses and Stormwatch are definitely favorites of mine as well, I have a particular relationship with Stormwatch which was for a time the only Tull album I had with me.
|
|
|
Post by Cecil the Sealion on Nov 8, 2010 4:11:53 GMT -5
This album was mainly cool. There are 2 things that surprise me about many tull fans from this remaster though. They don't like Watching me watching you? I love it. Awesome melody, vocals and guitar. Very cool complex tune with genius to it. They love jackalynn? While it's nice for the first 2 minutes, I find the drums almost unlistenable. Loud 80s drums are probably the ugliest thing i could think of when listening to music. Thankfully alot of Broadsword has listenable drums ;D Anyway, the really good songs from this remaster for me are: seal driver-very good tune, probably best on original album watching me watching you-coolest tune, is this a drum machine or drum overdubbings? With the treble down they like sound real samples too many too-love the snare on this, really cool song after a few listens fallen on hard times-top tune, although it could have done without the backwards reverb snare effect flying colours-took a few listens, but this is equal best song on album imo clasp-fine tune. Snare could have been a touch better That's 6 really good tunes. I like Broadsword and Slow marching band too. Probably the most important song missing is the full acoustic version of jackaynn. Very nice tune with no horrible drums. Another cool missing outtake is Motoreyes. I really like I'm your gun and Down at the end of your road although the recordings sound a bit unfinished, especially I'm your fun which sounds like a live studio recording. I'd like to see a remaster with the full 28 songs with a drum remixing on songs such as Beastie, Jackalynn, Pusssy willow etc. Also including the 2 unreleased songs DJ and Dinosaur. Would be nice to have a consistent sound in all the songs. Heres' a full list of tunes we could have beastie(full drum remix) clasp(slight drum remix) fallen on hard times flying colours slow marching band broadsword pussy willow(drum remix) watching me watching you seal driver cheerio jack frost and the hooded crowjackalynn(full drum remix) jackalynn(full acoustic version) motoreyesmayhem maybe too many too overhang rhythm in gold down at the end of your road i'm your gun drive on the young side of life crew nights the curse no step commons brawl lights outdj(unreleased) dinoasaur(unreleased) The songs in bold need a slight sound adjustment to sound consistent also. They just seem to have a fair bit more reverb or noise than most of the others. Songs such as Beastie would sound so much better just by adjusting the volume and frequencies of the drum track. I can't listen to it otherwise. Could be a cool tune to listen too with a minor adjustment. With a full list of 28 songs, minor adjustments to sound to get major improvement to some songs and just a general adjustment to a handfull or songs to get a consistently good sound through the whole disc, then you have a super double album
|
|
|
Post by tootull on Nov 8, 2010 8:55:48 GMT -5
Love this album. Love Watching Me Watching You The bonus tracks are great.
|
|
|
Post by My God on Nov 8, 2010 14:20:59 GMT -5
Broadsword and the Beast is a pretty good disc. It did better in Germany than in the U.S. Watching me, Watching you is one of my favorites to. Watching me, Watching you.
|
|
|
Post by Cecil the Sealion on Nov 8, 2010 17:22:51 GMT -5
I'm glad to see fans of Watching me watching you. Sounds awesome turned up load in the car. When i listen to this cd I have the bass and treble not even half way. The early 80s went overboard with the bass drum and snare frequencies ;D
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 11, 2010 1:07:25 GMT -5
Watching me watching you is a great song. There is a refreshing and engaging intensity to the song, and it is very well done. To me it doesn't seem like a song that would be particularly easy to write, or even to execute it once it's written.
Beastie is another favorite of mine. Many Tull fans cannot stand it, but to me it is one of Ian's best examples of songwriting--the perfect opening track for the album.
|
|
Fullfrontalbuddha
Ethnic Piano Accordian-ist
"Big-bottled Fraulein, put your weight on me"
Posts: 147
|
Post by Fullfrontalbuddha on Nov 12, 2010 15:28:38 GMT -5
My introduction to Tull in the late 70's as a wee lad was by a friend who gave me Minstrel in the Gallery and Songs from the Wood on a cassette that he made from his dad's vinyl, thus a still-standing love affair was born.
I was a bit young to take much notice of the social commentary or deeper significance of the songs on Broadsword when it came out, but it remains among my favorite Tull albums to this day.
Slow Marching Band would rate among my favorite tracks on the album, just as a beautiful ballad that I would listen to time and again while walking to school (the whole album, but I guess the walk with that song playing has fond memories associated with it). Broadsword is full of wonderful imagery and musically evocative of a an epic journey. Even the lyrics in Beastie have turns of phrase that caught my ear and stayed there; "...long, murky middle-age and final hours, long in the tooth", great stuff in my opinion. Fallen on Hard Times, Flying Colours, Pussy Willow, all songs that I can listen to over and over. I really do love this album.
I can understand "Tull purist" objections to the album as far as synthesizers and production approach, compared to the more bucolic recordings but this album will always hold a place in my heart.
And the album art is one of my favorite pieces of all time, to me it's like Blues for Allah cover; just a beautiful piece of art. Our illustrious board master most likely saw him as well after the Morristown concert in the Dublin Pub - there was literally the biggest Tull fan I've ever seen (he wasn't that tall, but he was HUGE) and he was wearing a Broadsword shirt AND he had the cover tattooed on his giant bicep, so I think that fellow would agree with this last part of my little diatribe here.
So there's my two bits. Cheerio.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Mar 26, 2011 18:00:12 GMT -5
The synthesizers definitely took me a bit getting used to, but now I really like them. They are very well done and add a sort of mystique at times especially one The Clasp--probably my favorite song on the album.
|
|
|
Post by Nonfatman on Mar 26, 2011 18:18:05 GMT -5
The synthesizers definitely took me a bit getting used to, but now I really like them. They are very well done and add a sort of mystique at times especially one The Clasp--probably my favorite song on the album. I didn't like the synths on Broadsword because they sounded pop-rocky, kind of like Styx or Journey-esqe, whereas I thought on A it was more of a prog-rock synthesizer sound. The thing that made Broadsword so different for me, aside from its kind of slick and commercial feel, which I felt was an attempt to have a hit single (Beastie, Broadsword, The Clasp, Fallen on Hard Times), was the total absence of strings. It was the first album that had no strings - even on A you had Eddie's prominent electric violin. From Broadsword on, it seemed like each and every album started off with a song that aspired to be a Top 40 hit, and sometimes both sides of the album had that kind of song, like on Catfish with This is Not Love and Doctor to My Disease. On Dot Com, Spiral seemed to be an attempt at commercialism, and you saw it also with Lap of Luxury, Steelmonkey, Kissing Willie and Roots to Branches, all of which did get some radio airplay. Jeff
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Mar 27, 2011 0:54:44 GMT -5
I respect your opinion, and can appreciate your point of view, but I think particularly on The Clasp the synthesizer adds somewhat of a mystic glow around it all. It's all about perception I suppose. I do agree about the commercial radio-driven songs on each album after A (a fucking amazing album) but I can definitely appreciate all of them--especially Beastie.
I think I mentioned this in my original post, but one of my favorite things about this album is the lyrics throughout. It's sort of similar to Stormwatch in the sense that it has a sort of bleak outlook on what society has become. Though it seems that this album is less focused on the environmental issues, and moreso the stagnancy of human contact and the lack of real communication.
On Beastie it describes people having all sorts of personal problems who go to other people 'qualified' to hear them out about it (therapists) who have these same (or other) problems themselves.
On The Clasp and I suppose Watching Me Watching You it describes the sort of fear that people have to actually communicate with each other openly, instead hiding behind hard-weather hoods, flashing cryptic signals.
Of course there are other social critiques like Fallen on Hard Times and to an extent Pussy Willow. Ian's critical eye of society is very easy to relate to.
|
|
ak78
Claghornist
Posts: 4
|
Post by ak78 on May 10, 2011 16:55:03 GMT -5
Hi all. I'm Aki from Finland, a newbie here and the main reason for me joining in the first place is a question (or a few of them)... Does any kind of a tracklist for the intended double album version of Broadsword and the Beast exist? And if now, what kind of tracklist would you prefer? I'm planning to compile myself a custom double album (in this case a cdr or even better, a cassette!) but I have no idea of in which order the tracks should be. Except for that Cheerio should definitely be the final track on the whole thing. Sorry if the question was silly.
|
|