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This is an oddly eclectic album. It has a predominantly folk feel to it, and there are an awful lot of accoustic instruments to it. However it has alot of the production values and sensibilities of the late seventies. The lyrics add to this with their references to a more rustic time, and then shifting to the modern world. By far the most exciting element of this album, though, is the complexity of the arrangements. Ian Anderson eschews the multi-sided tracks of Jethro Tull's heyday in favour of standard verse-chorus-bridge arrangements. He instead concentrates on multi layering the sound. The first twenty seconds of "Acres Wild" is enough to explain what I mean by this. The oddest track on this album would have to be "Journeyman". The song refers to trains and Ian Anderson employs many of the standard blues tricks to evoke the appropriate sound. However the bass line and string arrangements owe a definite debt to disco. All this is played on folk (or folk-rock) instruments. The result is better than you might think. Unfortunately the two tracks that don't seem to sit well on this album are the longer ones, "No Lullabies" and "Heavy Horses". I have heard the latter song in other contexts and enjoyed it. I'm not entirely sure why it doesn't work here. This is an album of mixing extremes. Folk instruments and complex arrangements; the rustic and the modern; prog rock dinosaurs in an age of disco. The result could either have been inspirational or dreadful. Some claim it is a bit of a failure, but I really love this album. review by Conrad Leviston — 1-7-03 —

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I consider this one a companion to Songs From The Wood in both style and substance. The cover art may contribute as much to how the music is perceived as the songs themselves. These two releases are often described using terms such as "rustic" and "folksy". Ian's acoustic guitar lays the foundation, running through almost every arrangement. What's interesting is how complicated the songs are musically. Ian fools us by creating melodic, sit-around-the-fire-telling-stories type songs, but the intricate detail contained within should not be ignored. The rhythm section of Barlow and Glascock provides some amazing interplay. Not to overstate, but at times you would think you are listening to Bach. Bach's music always has the most incredible bass lines, and with Glascocks playing, he is always providing a separate melody that does not disturb the song but works perfectly within it. Barlow's varied percussion also provides a spark; this is not just a guy spinning around the drumset, and these are well thought out drum patterns. It is the mark of an accomplished drummer that one can take songs like this and make them as smooth as playing a simple 4/4, nothing is forced for the sake of complexity. Songs such as "No Lullaby" and the title track are constantly changing time and dynamics, and they hit everything perfectly. "Moths" & "One Brown Mouse" provide us with those beautiful acoustic treats that Ian is so good at, with Palmer adding some orchestration. Guest violinist Darryl Way (formerly of Curved Air) fits in perfectly, showcasing another instrument that could have been right at home in the Tull family. The addition of David Palmer expands the band, now using two keyboardists, allowing for a bit more orchestration. The title track seems to be a confession of Ian's love of country living, and the noble work of the farmer, but it is dedicated to a variety of working horses that are used for farming. An incredible tour de force of everything in the Tull bag of tricks, acoustic guitar, flute, incredible dynamics and musical muscle are flexed. "No Lullaby" also has some terrific instrumental breaks that revolve around Martin Barre's guitar licks. "Rover" reminds me of how Gentle Giant often conjured up a medieval sound, with the keyboards, flute, and guitars accompanied by some orchestration, this is another monster musical track. Heavy Horses consists of short concise musical statements, with only two tracks going over five minutes, but there is a wealth of music to be heard. Another feather in the band's cap. review by Eric Porter — undated —