Artist: JETHRO TULL
Album: SONGS FROM THE WOOD
[Welcome to Forty Year Friday, a series celebrating landmark albums turning forty years old.]
By 1977, Jethro Tull had journeyed far from their blues-rock origins, establishing themselves as pioneers of progressive rock. Achieving both Gold and Platinum status with albums like Aqualung, Thick As A Brick, and A Passion Play, the latter two reaching the pinnacle of the U.S. charts, they defied easy categorization. Led by the iconic Ian Anderson, known for his distinctive one-legged flute performances, their sound, infused with flute melodies, was uniquely their own. While not strictly embracing the “prog-rock” label, Jethro Tull became as defining of the genre as contemporaries like Yes, King Crimson, Emerson Lake & Palmer, Pink Floyd, and Gentle Giant. Following their 1976 concept album, Too Old To Rock ‘N’ Roll: Too Young To Die, Anderson’s move to the countryside and embrace of nature sparked a creative period, culminating in Songs From The Wood, a record celebrated for its joyous and captivating spirit. The album’s cover art perfectly encapsulates this return to nature, hinting at the sonic textures within. Alongside longtime band members Martin Barre (guitar), John Evan (piano, organ, synthesizer), Barriemore Barlow (drums, percussion), and David Palmer (keyboards, expanding his role from orchestral arrangements), and with John Glascock on bass for his second Tull album, Anderson crafted what many consider his most potent and accessible collection of Jethro Tull Songs on their tenth studio release.
Songs From The Wood is replete with standout tracks, a testament to the album’s consistent quality. The opening title track, “Songs From The Wood,” immediately sets the tone with a 40-second a cappella introduction, transitioning into acoustic instrumentation before evolving into a signature Tull arrangement. Expect intricate rhythms, Anderson’s flute, harpsichord, and Barre’s distinctive guitar accents. True to its lyrics, this song, and indeed the album, delivers a feeling of upliftment. “The Whistler” stands out as a highlight, a personal favorite and arguably the album’s peak. Its charming verse melody and irresistibly catchy chorus (“I’ve got my fife and I’ve come to play”) are instantly memorable. The folk-inspired “Jack-In-The Green,” performed entirely by Anderson, showcases a delicate flute melody, highlighting his instrumental versatility. “Hunting Girl” distinguishes itself with its haunting keyboard textures, dynamic stop-start rhythms, and Barre’s powerful guitar riffs, a recurring motif throughout the track that adds to its dramatic flair.
Jethro Tull even ventured into Christmas themes with the spirited “Ring Out Solstice Bells.” Remarkably, this seasonal song seamlessly integrates into the album’s overall atmosphere. The band’s musical prowess is further demonstrated in making a 7/4 time signature sound natural and engaging in this track (“Seven druids dance in seven time”). This accessibility is achieved through Anderson’s direct vocal delivery, the rhythmic handclaps in the verses, and the softer, melodic choruses. “Cup Of Wonder” bursts forth as a driving rocker, anchored by a memorable flute melody that navigates between stripped-down acoustic sections and full-band intensity. The instrumental break features a compelling interplay between guitar and flute solos.
The album’s most expansive compositions are “Velvet Green” and “Pibroch (Cap In Hand).” In just over six minutes, “Velvet Green” traverses sonic landscapes from synth harpsichord textures to off-kilter rhythms enriched with flute, guitar, bass, and bells. It briefly incorporates syncopation before transitioning to a strummed acoustic section featuring a captivating 8-note guitar melody, leading into a percussive, almost medieval-sounding passage. “Pibroch (Cap In Hand),” at eight and a half minutes, serves as a showcase for Martin Barre’s electrifying guitar work, particularly prominent in the opening and closing minutes. The track encompasses lighter jazz elements, rockier sections, a tranquil dual-synthesizer interlude, and an instrumental break filled with dynamic percussive accents. The title “Pibroch,” referring to a form of Scottish bagpipe music characterized by elaborate variations on a theme, aptly reflects the song’s structure. Intriguingly, Jethro Tull even manages to insert a progressive rock instrumental section into “Fire At Midnight,” the album’s shortest and perhaps sweetest song, a gentle tune punctuated by subtle military-style snare drum.
Jethro Tull’s distinctive sound and their penchant for musical exploration have consistently set them apart. However, their extensive discography can seem daunting for newcomers. For rock enthusiasts with an appreciation for folk influences, Songs From The Wood provides an accessible entry point into the world of Jethro Tull songs. It remains remarkably fresh and relevant, even decades after its release, a timeless collection of music.
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