Let Me Bring You Songs from the Wood
“I have no time for Time Magazine or Rolling Stone.
I have no wish for wishing wells or wishing bones.
I have no house in the country I have no motor car.
And if you think I'm joking, then I'm just a one-line joker in a public bar.
And it seems there's no-body left for tennis; and I'm a one-band-man.
And I want no Top Twenty funeral or a hundred grand.”
--Ian Anderson “Mother England Reverie” from Minstrel In The Gallery 1975.
Let Me Explain…
I really think I should interject a thought to all of my friends and (the often times disregarded) foes alike: I like Jethro Tull.
Not the agronomist that created the seed drill “Jethro Tull,” but the band.
Most of you do not understand it.
My mother once referred to the music as “Flutey-Tooty shit” and my wife simply cannot stand it. She actually threatened to throw a CD out of the car once and said, “that is the worst music I have ever heard, honestly, the worst.”
My brother makes fun of it, although I do not make fun of Elvis (how wretched is the post 1960 Elvis junk anyway?) or when he started a “Slim Whitman” club on a night of drunken debauchery in college.
One of my students told me (in a tranquil moment while I played “Songs From the Wood” after a test in class) “that’s the dude with the flute who prances around stage and goes nuts. He’s crazy!”
“He?!” “Prances?!” “Nuts?!” “Crazy?!”
Ok, let’s understand some things here. Jethro Tull is a band. Like Pink Floyd (there is no “Pink” and no “Floyd”) their name comes from a 16th century British agronomist who invented the seed drill. Having noted that—most people have assumed their lead singer/acoustic guitarist/mandolin playing/flautist Ian Anderson is “Jethro Tull.” No, he is Ian Anderson.
Yes, the band uses a flute—why such disparaging comments on a musical instrument? It sounds interesting against a backdrop of heavy guitar riffs, a thundering bass and beautifully timed signature drumming. Yes, they play acoustic songs as well that hearken back to the days of merry Lode England (deliberately spelled that way for the record) which also fits the flute.
So why the hatred—or better you may ask why I like the band?
My good friend Joe once said to me, “even I don’t get what you see in this group…” and Joe is quite an expert on 1960s pop and rock and transcended power pop and 1980s music. I made a CD for him and he politely commented on it—although I am not sure if he liked it or not.
Many “musical” people love Tull for the innovative arrangements. Many others hate the band for the “classical” or “folk” label that people attach to the group. Let’s face it, we-- as a collective society--like to label things and Tull cannot fit to the labels.
That is a reason I think so many people dislike Tull.
Let me give you some reasons I like the band.
The vocals of Anderson are in my range—so I can sing along quite readily.
The guitars by Martin Barre are incredible. He is the unheralded master of the riff. I still remember when I sat in Tony Crubaugh’s ISU class of Modern European Popular Culture (Tony is an excellent professor and a very good friend) and he hummed the opening riff to Aqualung.
I like the flute—although my sister tortured us as children with her “practice” of the instrument. My brother and I outwardly laughed at her “ability” to play (sorry, but no Sweetwood has musical talent in my immediate family). I mean, in Tull I can whistle along to it.
I like the occasional acoustic pieces. They are refreshing and subtle.
The band can play tightly. The bass is less of a rhythm-keeping instrument and more of an actual force in Tull. The drummers over the years have all kept excellent time and controlled the music.
Lyrically they are interesting. They comment on religion, politics, corporate greed, the destruction of natural resources, and sexuality in an interesting perspective.
I also enjoy the fact that Ian Anderson is a “cat person” and helps the plight of cats. I emailed him once and he was polite enough to email me back and wished my cats “good health.”
They write “mood” and period pieces. Every Spring I play “Heavy Horses” and every winter I play “Stormwatch” and in so doing, I feel “right” with nature and the world. I enjoy a good, hearty and thoroughly British ale with Heavy Horses and a Stout or Porter while playing Stormwatch. The beer helps relax me and may I suggest Abbot Ale from England and Taddy Caster Porter (also from England) when playing these two albums.
They are uniquely British, and having fancied myself an Anglophile, I respect their introspection and their resolve to not compromise their “very British” origins. They also give us a nod to their British heritage and we should not forget our British Cousins.
Live, the band is nothing short of incredible. Having seen them live twice (Broadsword and the Beast tour in 1983 and Rock Island Tour in 1989), I can attest that they sound every bit as intricate and good live as they sound in the studio. Having more than a fair share of “import concert recordings” of the band, it should be noted that they are a powerful live unit.
I also think that with music, one needs a band that is just “their own.” I know many of you who would read this hate Tull, so I feel a sense that they are “MY BAND.” Psychologically twisted to be sure, but at least I can have them without contention. And I am polite enough not to play them around many of you. My former Chess team teammate Jim (yes, I was the captain of the chess team once and I was once very wise), my good friend Mike (a former DA), my college roommate and good friend Keith, my fellow collegue and carpool partner Elston, a fellow English teaching educator Mike, a former grad school friend (who hated rock music) Tom, and my department chair Gene all enjoy the music of Jethro Tull.
I feel like that scene in STRIPES with Bill Murray when he is discussing Tito Pfuentes with his girlfriend. Mark my words, some day when Tull is long gone and resurges in popularity, you’ll be saying “I have been listening to them for years…” and you will all come back to me and ask to borrow my stuff.
Yes they had a top twenty single in Bungle in the Jungle and one in Living In The Past. If I were to gage success of a band based on Billboard—we would all be Tony Orlando and Dawn, Brittany Spears, the DeFranco Family, and Backdoor Boys fans and those groups would be “aces.” Who listens to Billboard?
Step out of the realm of Billboard, please. Jethro Tull is a great band and have been playing longer than most (they started in 1969 and are considered in the top twenty grossing bands of musical sales and popularity).
Anyways, for those interested—the best Tull Albums are Songs From The Wood, Heavy Horses, Stormwatch (my personal favorite), Benefit, Stand Up, Aqualung, Thick as A Brick, Crest of a Knave (Grammy Award Winner for Heavy Metal in 1988), Minstrel In The Gallery, Roots To Branches, Broadsword and the Beast, and Catfish Rising. All are available on Amazon.com or BarnesandNoble.com.
Go and enjoy.
“One day I'll be a minstrel in the gallery.
And paint you a picture of the queen.
And if sometimes I sing to a cynical degree --- it's just the nonsense that it seems.''
So I drift down through the Baker Street valley, in my steep-sided un-reality.
And when all is said and all is done --- I couldn't wish for a better one.
It's a real-life ripe dead certainty --- that I'm just a Baker Street Muse.”
--Ian Anderson “Mother England Reverie” from Minstrel In The Gallery 1975.
I have no wish for wishing wells or wishing bones.
I have no house in the country I have no motor car.
And if you think I'm joking, then I'm just a one-line joker in a public bar.
And it seems there's no-body left for tennis; and I'm a one-band-man.
And I want no Top Twenty funeral or a hundred grand.”
--Ian Anderson “Mother England Reverie” from Minstrel In The Gallery 1975.
Let Me Explain…
I really think I should interject a thought to all of my friends and (the often times disregarded) foes alike: I like Jethro Tull.
Not the agronomist that created the seed drill “Jethro Tull,” but the band.
Most of you do not understand it.
My mother once referred to the music as “Flutey-Tooty shit” and my wife simply cannot stand it. She actually threatened to throw a CD out of the car once and said, “that is the worst music I have ever heard, honestly, the worst.”
My brother makes fun of it, although I do not make fun of Elvis (how wretched is the post 1960 Elvis junk anyway?) or when he started a “Slim Whitman” club on a night of drunken debauchery in college.
One of my students told me (in a tranquil moment while I played “Songs From the Wood” after a test in class) “that’s the dude with the flute who prances around stage and goes nuts. He’s crazy!”
“He?!” “Prances?!” “Nuts?!” “Crazy?!”
Ok, let’s understand some things here. Jethro Tull is a band. Like Pink Floyd (there is no “Pink” and no “Floyd”) their name comes from a 16th century British agronomist who invented the seed drill. Having noted that—most people have assumed their lead singer/acoustic guitarist/mandolin playing/flautist Ian Anderson is “Jethro Tull.” No, he is Ian Anderson.
Yes, the band uses a flute—why such disparaging comments on a musical instrument? It sounds interesting against a backdrop of heavy guitar riffs, a thundering bass and beautifully timed signature drumming. Yes, they play acoustic songs as well that hearken back to the days of merry Lode England (deliberately spelled that way for the record) which also fits the flute.
So why the hatred—or better you may ask why I like the band?
My good friend Joe once said to me, “even I don’t get what you see in this group…” and Joe is quite an expert on 1960s pop and rock and transcended power pop and 1980s music. I made a CD for him and he politely commented on it—although I am not sure if he liked it or not.
Many “musical” people love Tull for the innovative arrangements. Many others hate the band for the “classical” or “folk” label that people attach to the group. Let’s face it, we-- as a collective society--like to label things and Tull cannot fit to the labels.
That is a reason I think so many people dislike Tull.
Let me give you some reasons I like the band.
The vocals of Anderson are in my range—so I can sing along quite readily.
The guitars by Martin Barre are incredible. He is the unheralded master of the riff. I still remember when I sat in Tony Crubaugh’s ISU class of Modern European Popular Culture (Tony is an excellent professor and a very good friend) and he hummed the opening riff to Aqualung.
I like the flute—although my sister tortured us as children with her “practice” of the instrument. My brother and I outwardly laughed at her “ability” to play (sorry, but no Sweetwood has musical talent in my immediate family). I mean, in Tull I can whistle along to it.
I like the occasional acoustic pieces. They are refreshing and subtle.
The band can play tightly. The bass is less of a rhythm-keeping instrument and more of an actual force in Tull. The drummers over the years have all kept excellent time and controlled the music.
Lyrically they are interesting. They comment on religion, politics, corporate greed, the destruction of natural resources, and sexuality in an interesting perspective.
I also enjoy the fact that Ian Anderson is a “cat person” and helps the plight of cats. I emailed him once and he was polite enough to email me back and wished my cats “good health.”
They write “mood” and period pieces. Every Spring I play “Heavy Horses” and every winter I play “Stormwatch” and in so doing, I feel “right” with nature and the world. I enjoy a good, hearty and thoroughly British ale with Heavy Horses and a Stout or Porter while playing Stormwatch. The beer helps relax me and may I suggest Abbot Ale from England and Taddy Caster Porter (also from England) when playing these two albums.
They are uniquely British, and having fancied myself an Anglophile, I respect their introspection and their resolve to not compromise their “very British” origins. They also give us a nod to their British heritage and we should not forget our British Cousins.
Live, the band is nothing short of incredible. Having seen them live twice (Broadsword and the Beast tour in 1983 and Rock Island Tour in 1989), I can attest that they sound every bit as intricate and good live as they sound in the studio. Having more than a fair share of “import concert recordings” of the band, it should be noted that they are a powerful live unit.
I also think that with music, one needs a band that is just “their own.” I know many of you who would read this hate Tull, so I feel a sense that they are “MY BAND.” Psychologically twisted to be sure, but at least I can have them without contention. And I am polite enough not to play them around many of you. My former Chess team teammate Jim (yes, I was the captain of the chess team once and I was once very wise), my good friend Mike (a former DA), my college roommate and good friend Keith, my fellow collegue and carpool partner Elston, a fellow English teaching educator Mike, a former grad school friend (who hated rock music) Tom, and my department chair Gene all enjoy the music of Jethro Tull.
I feel like that scene in STRIPES with Bill Murray when he is discussing Tito Pfuentes with his girlfriend. Mark my words, some day when Tull is long gone and resurges in popularity, you’ll be saying “I have been listening to them for years…” and you will all come back to me and ask to borrow my stuff.
Yes they had a top twenty single in Bungle in the Jungle and one in Living In The Past. If I were to gage success of a band based on Billboard—we would all be Tony Orlando and Dawn, Brittany Spears, the DeFranco Family, and Backdoor Boys fans and those groups would be “aces.” Who listens to Billboard?
Step out of the realm of Billboard, please. Jethro Tull is a great band and have been playing longer than most (they started in 1969 and are considered in the top twenty grossing bands of musical sales and popularity).
Anyways, for those interested—the best Tull Albums are Songs From The Wood, Heavy Horses, Stormwatch (my personal favorite), Benefit, Stand Up, Aqualung, Thick as A Brick, Crest of a Knave (Grammy Award Winner for Heavy Metal in 1988), Minstrel In The Gallery, Roots To Branches, Broadsword and the Beast, and Catfish Rising. All are available on Amazon.com or BarnesandNoble.com.
Go and enjoy.
“One day I'll be a minstrel in the gallery.
And paint you a picture of the queen.
And if sometimes I sing to a cynical degree --- it's just the nonsense that it seems.''
So I drift down through the Baker Street valley, in my steep-sided un-reality.
And when all is said and all is done --- I couldn't wish for a better one.
It's a real-life ripe dead certainty --- that I'm just a Baker Street Muse.”
--Ian Anderson “Mother England Reverie” from Minstrel In The Gallery 1975.
posted by Eric Sweetwood at 4:40 PM
9 Comments:
Elvis in the 1960s? His '68 Special on NBC and his subsequent albums were all legendary and critical successes. Of his "Comeback Special," rock writer John Landau wrote then:
"There is something magical about watching a man who has lost himself find his way back home...He sang with the kind of power people no longer expect from rock ‘n’ roll singers."
Rolling Stone writer Greil Marcus said of the Elvis music of the era:
"It was the finest music of his life. If ever there was music that bleeds, this was it."
Some fruit with a flute? Please refrain from mentioning him and Elvis in the same blog...
Hmmm..."fruit with a flute..." OK, whatever.
Ian does not use nor ever had used drugs--Elvis would possibly be alive he could honestkly say the same.
Ian is NOT jealous of the Beatles or any other group--judging by the Sullivan show "letter" from Elvis--one wonders if it was honest or as John Lennon referred to it--a cheap trick to get his name out there.
Elvis has a legion of people exploiting his money for riches and fame--Ian--uh nope!
I give Elvis his due for creating a genre for white folks, but let's face it--the latter Elvis was a sad and pale comparison to his former greatness. Tull and Elvis are simply too different to compare, but in a sense, one wonders what you see in the Elvis post 1960 (comeback special was just that); a come back.
--ES
"Non-musical family"...
sorry to correct you, but I am able to read music, sing harmony, sight-read, & have been part of an ensemble group and/or church choir for over 25 years...
not the same as cutting an album or performing a concert, but musical just the same. And according to those who like that type of music, we can hold our own.
As for the flute, well, at least I tried! :)
Your not-tone-deaf sister,
Karen
Eric
Your comments about Jethro were excellent. He was always among my favorite rockers......
Musicians actually play in tune once in a while. Ian "prancer" Anderson seems to never have figured this out in his 40 years of attempting to play the flute.
I still remember when Jimmy L took lesssons to try to play like Jethro. He wore his knee high fringe covered boots and looked and acted like a complete dork. What a great memory.
I do own Stormwatch - only because you pressured me into buying it at Mother's about 15 or 20 years ago. I think I listened to it a couple times - never did anything for me other than think I was listening to the UK version of Kansas.
Now - if you want good acoustic music - might I suggest Townes Van Zandt, Guy Clark, or Lyle Lovett?
Guess Who?!
Don't listen to them Eric. What do they know? I mean one of them likes a guys that is more famous now "as that guy that died on the Toilet". Someone else missed the point entirely talking about road construction and another felt that he was "brow-beaten" into buying a great album that probably clashed with his Billy Joel and Lionel Ritchie albums. He was probably afrid that those two "rock powerhouses" were going to catch some residual talent. Enjoy Tull and don't justify your liking. I mean this blog could have been about Phil Collins instead(Yuk!)
Hmmm...so much controversy and comments about a band. Wow.
Whereas my sister may "currently" be be able to read music--I doubt if that were the case when she was a child and making noises that made the skin crawl from her flute. She does sing well in the church and has an infinite amount of talent compared to me (and I will argue other family members). I will leave other family members out of my commentaries because they can speak for themselves. I will give her the dues she deserves--as my excursions into music (taking guitar lessons) were only less frightening than my attempts to sing in musicals. "Blow me high, blow mw low" from Carousel or "The Barber Song" from Man of La Mancha cemented my lack of musical prowess. "I can hear a Cuckoo Singing in the Cuckoo Berry tree" indeed.
As for someone remembering "Dr. Jimmy" L. playing the flute has to be Tim, Al, or Peter. More than likely Peter since he and I visited Mother's more than most people id when living on a fixed college income--spending cash on musical necessities. I probably "pressured" more people into trying to like Tull than any other group. I guess I was campaigning my own justifications and tastes to a degree. And in that light, I remember whilest flipping (we actually did not flip anything as a conveyor belt ran them through) burgers at Burger King, Gary B. drove by and was playing an 8 Track (yep--that old, kiddies) of ELP and I suggested he play some Tull. He said, "Tull--you have excellent tastes in music." Play Stormwatch again--especially the songs "Old Ghosts," "Home," "Dark Ages," and "Something's on The Move" and let me know if your opinion has changed.
To the last person--the constuction comments are like spam--another annoyance of blogs, and Phil Collins--Uh...NEVER (although I admit a guilty pleasure of enjoying the song and drum bits on "In The Air Tonight..."
I would love to know what the members of Tull think, so they were each emailed this blog. One wonders if they have time to comment, but trusty and articulate Ian; reliable Martin Barre; always a kind email response from Big Doanne Perry--he reveled that "The song was Cat's Squirrel from "This Was" in 1969" was his favorite Tull tune and that he "was a fan ever since." in a personal email; and some occasional kind words from Webmaster of Jtull.com and keyboardest Andrew Giddings may yeild a surprise comment.
Jim really wore high boots and took flute lessons in the 1980s? Wow--that I honestly did not know. That would be a sight I suppose and for all of us who know and love Jim, also know that we would never let him forget it--similar to me singing "blow high; blow low." One can imagine the jokes of cruelty not only for my "talent" at singing, but also for the lyrical suggestions of the song.
That's what friends are for--and no I will not sing the tune. Thanks for the comments all you crash-barrier waltzers (Tull reference).
Well, as we've discussed many times, everyone has a favorite artist or band that no one else they know likes. That's just the way it is, from what I can tell.
You like Tull, I like Carly Simon's " No Secrets " album. I haven't been able to convince anyone I know that it's her best work, or that she did any work at all of merit. And you know what ? I no longer care if anyone does or not. I actually think it's cool to have something that only YOU dig, and no one else is in on the secret. It's their loss. And let's face it, we're all music snobs here. We all KNOW that what we like is great, and everything else is crap. And all of us have groups / artists that we agree on, which validates our opinions & superiority over the masses. But if we all liked the same stuff, then we couldn't have fun discussions like this one. It's just not possible for us all to have the exact same taste in everything. And in your case it's Tull.
Enjoy the fact that you have something special to you, and know that there are obviously other fans of the band out there, or they wouldn't still be around. Which means they have merit, the rest of us just don't see it. I liked some of the tracks on the disc you made me, so it isn't completely escaping me. I think they're best when they just do straight rock and don't get too pretentious ( i.e. Yes or ELP ). Like, Seal Driver, ehhh, not so great lyric-wise. Farm On The Freeway, tho', good stuff mate. And I've always thought Ian was a fine singer, so I don't think you're crazy for liking them. Everyone else might, but not me.
And Elvis did some of his best work in the 60's & 70's, your brother is right. But it ain't your cup o' tea, & I respect that. Your brother probably doesn't, but that's what family is for. Fighting.
We don't fight that much to be honest.
And musically, as you say, to each his or her own.
As I was working out at Cardio-Rehab, the nurses ("Oh Nursie dear, I'm glad you're here"--more Tull references) played Carly Simon's Greatest Hits. I did not think it was bad at all--in fact, I liked it. Maybe the Vicodin was kicking in--not too altogether sure.
Glad you liked some of the CD and were willing to give it a listen--always had a soft spot for "Farm On The Freeway" myself. I am confident I put Old Ghost and/or Home and Dun Ringell on that one as well.
Eric
You are a good investigator, Mr Sweetwood. I indeed was the poster to reveal the deep dark secrets of Dr Jimmy and his dancing shoes. It is true the Jimmy took flute lessons his Soph or Jr year at OHS. If you may recall, there were two pair of those boots in town way back when - I believe Steve O had the other ones.
I must confess a couple things about my musical taste. It does not enjoy the same 60-70s rock edge that you and other friends who call the Kinks, Tull, The Who, and The Stones the stables of their record/CD collection. Yes, I own every Who and Clash CD, but haven't listened to them in probably a couple years. I still listen to Dylan and the Stones, and my kids really enjoy the Police and Stray Cats.
I confess that I still actually have a couple Billy Joel LPs lying around in the basement, and I have been known in the distant past to buy ELP, BS&T, Chicago and 80s new wave crap. However, I feel that I am reformed in my ways...I have progressed...
We all have music that is comforting and useful to help remind us of past experiences. That is one of the great parts of music - especially popular/ rock music. I "get" your love of Tull - most of us just didnt grow up listening to it like you did. Having that band or artist that is yours is one little way we can be independent and unique. I guess Townes VZ is the guy I call my artist now - but feel free to share him with me.
Cheers!
Peter
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