c o n r a d

A new rural lifestyle for Ian Anderson inspired a rustic approach for Jethro Tull. Often referred to as a folk-rock album, Anderson points out that Songs From the Wood is really "folky window dressing in a prog-rock shop-front." Along with lyrics of the countryside, mandolins and pennywhistles, there are also 7/8 time signatures and thrumming Martin Barre guitar riffs. Perhaps therein lies the success of this album. It was approached with no preconceptions as to what a folk rock album should be like, and so is a more genuine expression of the band's spirit. Songs From the Wood contains a number of classic Tull tracks, such as the sprightly "Cup of Wonder" with its rich arrangement and lyrics concerning things such as ley lines and the green man. Then there is "Ring Out Solstice Bells" (which earned itself a place on The Jethro Tull Christmas Album), whose shifting meter never seems uncomfortable, even if it spends most of its time in 7/8. Then, of course, there is the multi-tracked five-part vocal harmony of Ian Anderson's voice on the title track. When this is all added to lush complex arrangements, it's clear why this album is so popular among Jethro Tull fans. For me, however, the album has a few sour notes. I have never quite appreciated "Jack-in-the-Green," with its quadruplets (four notes played in the space for three) seeming jarring rather than engaging, or "Pibroch," which goes on just a little too long for my taste. For all my minor misgivings, this is still an album I bring out to play many years after having first heard it, and enjoy quite a bit. I'm just a little more comfortable with Heavy Horses. Either of these two albums would serve as a good starting point for exploration into Jethro Tull's folky style. review by Conrad Leviston — 2-8-06 —

s e a n

For their 1977 release Jethro Tull again changed their image, this time to a folkier, more acoustic sound. Longtime collaborator David Palmer joined as second keyboardist, although this is not key-heavy music. Rather, it is a lighter sound and not as overtly progressive as the earlier work. Anderson's flute-playing is in fine form, and his vocals are particularly good, as the story-teller in "Jack-in-the-Green" or as the protagonist of "The Whistler", in conveying an authenticity to the proceedings. Martin Barre sometimes adds a bit of a heavier edge, with a nice hard-edged riff in "Hunting Girl". He is not particularly aggressive on the album as a whole, though. The album is captivating almost from beginning to end, although the two extended pieces ("Velvet Green" and "Cap in Hand") somewhat overstay their welcome. For the most part it is upbeat, charming and carefree, although Anderson himself thought it a bit twee, which might be a fair criticism. While I would caution people not to expect something in the vein of Thick as a Brick or A Passion Play, this is one of the most enjoyable Tull albums from where I sit. review by Sean McFee — undated —

j o e

Rebounding from the lackluster Too Old to Rock and Roll, Too Young to Die, Jethro Tull closed out the 70s with a string of strong albums, led by this one. During the time leading up to this recording, Ian Anderson had moved out to the country. This lifestyle change is more than amply reflected in the music. Perfectly exemplified by the album cover, with Ian in Sherwood Forest garb next to the pot boiling away under a roaring fire with trusted hound by his side, the rural British sensibility is so over-the-top, you almost want to laugh. Except the music is fantastic. This sextet edition of Tull, with the band's former orchestrator David Palmer on board as second keyboardist, effortlessly marries the strengths of folkies like Fairport Convention with the daunting intricacies of prog, perhaps most reminiscent of Gentle Giant, with their penchant for Medieval flair and Baroque counterpoint. The album starts off with gusto in the title track. Anderson's robust a capella vocals represent an ideal of what I wish Gentle Giant's vocals could have sounded like. With the burst of the tambourines and flutes, earthy acoustic strums, you know you're in for a treat. Other album highlights include "Velvet Green," with soooo not-subtle double entendres couched in a lavish acoustic middle section; the Cat Stevens-like "Cup of Wonder"; and the joyful chorus of "Ring Out Solstice Bells." But really, I'll be damned if I can find one song on here I don't like a lot. Perhaps lighter in tone but no less sophisticated than their extended works, Songs From the Wood is, simply put, one of Jethro Tull's finest moments. A great opener for those out to explore the Tull catalog, and a must-own for any serious fan of the band. If you like this one, the musical excursions in the countryside would continue with Heavy Horses. review by Joe McGlinchey — 6-20-03 —

e r i c

This CD has so much going on in each song; the arrangements are probably the most complex of Tull's career: lots of flute, acoustic guitar, and a great band playing. The songs have a folk feel to them, but the other thing that really strikes me with this record is the bass playing. "Songs From the Wood" begins with a very folkish vocal arrangement and the song develops into a complex piece and sounds as progressive as anything Tull has done. "Jack in the Green" is another song that has a folk arrangement, based on a lot of acoustic guitar. "Cup of Wonder" is a straight ahead song with a folk feel with lots of acoustic guitar and flute. "Velvet Green" one of my all time faves. Very medieval sounding intro with harpsichords, flutes, recorders, great arrangement. I am an admitted Tull fan (I don't want to mislead anyone) but don't go by Tull standards such as "Locomotive Breath" or Aqualung, as this CD (and the subsequent Heavy Horses) are a departure from that classic sound. Anderson admittedly wrote this CD in celebration of the countryside, and though a folk feel runs through it, there is more than enough rock to keep you active. Also, this is not your singer /songwriter folk, as the arrangements reach orchestral heights. The combination works to perfection, every nuance of this record belongs right where it is. Not as heavy as many of their more popular songs and not as poppy either. This is what a Tull record should be, and nobody does it better. review by Eric Porter — 2-28-00 —