What's your favorite Jethro Tull track

woeller wrote: I would be interested if other Tull fans see it that way too!

And that's where the dog is buried. Under Wraps did or did not meet expectations. Strangely enough, I got the impression that, although unusual, the -A- tour was very well received. As usual with Tull, many people in the audience did not even know the album for the tour and were accordingly impartial. Those who buy a Tull album on the day of its release - that is, we - are clearly in the minority at Tull concerts. If you listen to recordings from the tour you will see that the audience was thrilled and I clearly remember the comments from other concertgoers who had seen Tull a few times in the past. The tenor was: “A bit unusual, but interesting. Just Tull. “I thought it was great.

Strangely, that changed with Broadsword. After almost every concert I met acquaintances for whom Tull was a pure live affair and who had nothing in their record cabinet except maybe Aqualung or Brick and who complained bitterly (and rightly) after the Broadsword concert. The first point of criticism was Peter-John Vitesse's keyboard sound. The second was Martin Barres too tame guitar. Point two and point three were in the competition for the second winner and read: Jethro Tull will become your own cliché. This medieval kitsch, which was celebrated on the stage, probably tried to copy Minstrel etc., but went completely wrong or into the codpiece.

A personal note on this: I saw the Broadsword concert a total of seven times (five times on the actual tour and twice at the Out In The Green Festival in Wiesbaden and Nuremberg). After the last tour concert in Essen for me, I was convinced that Jethro Tull would dissolve. The whole thing came across as uninspired and boring. And Anderson made the impression that he'd rather be somewhere else. I correct: EVERYONE gave the impression that they would rather be somewhere else.

Ian Anderson's first foray into electronics followed. At that time I was very impressed by the possibilities of digitization. Sure, the whole thing still sounded artificial and thin, but it was foreseeable that this would change quickly and in fact it didn't take five years. Compare the drum computer from Under Wraps with the one from Crest of a Knave (a beer for the one who can tell me exactly what was played by Doanne and what comes out of the can - Monsieur Dix Voitures is excluded from this offer - old know-it-all).

Now I'm not nearly as creative a musician as Ian Anderson, but at the time I was thrilled by the new possibilities. For him it must have been a childhood dream come true. The eternal loner was finally able to realize everything that he had never been able to convey to his fellow musicians due to his lack of communication. Somehow it was obvious that it would carry him out of the curve. The famous kid who is locked up in the candy store overnight can only feel nauseous in the morning.

With the end of the Broadsword Tour, Jethro Tull, contrary to expectations, did not break up, but my expectations did. At that time I only knew one thing for sure: Please no more elves on sailing ships with swords and monsters. It is not surprising that the Americans are so crazy about the record: Tull in Disneyland.

Just to clarify, I would like to add that Broadsword musically appealed to me. I was particularly pleasantly surprised by the slightly different production by Mr. Samwell-Smith, who brings tears to the eyes or water in their panties to every Cat Stevens fan ... uh, I wander again. I firmly believe that some Jethro Tull records would have benefited if Ian Anderson had been expelled from the control room. Robin Black would probably have been enough. To give a brief example of Anderson's production gomancy: Compare the pieces on Stormwatch in which John Glascock plays bass with those in which Anderson plucks the electric bass.

So I finally come back to my introductory thesis about the Great Expectations. As stated above, I no longer had any expectations. For me it could only get new and better. Walk Into Light came as a ray of hope for me (no pun intended) and somehow I had it in my urine that a new Tull album would be similar. I already liked the vinyl edition very much (with the exception of the extremely weak Lap of Luxury that I started to skip pretty quickly). The really awesome complex tears like Astronomy, Tundra, Automotive Engineering and of course my favorite General Crossing at the time only became available to me with the release of the cassette a few months later. Saboteur has a crisp riff and at that time I and a fellow civilian service colleague who wielded an ax in a metal band thought about making a loud metal act out of it, with double bass and all the magic of the booth. Unfortunately it never turned into anything.

Enough rumbling: Your question is whether other Tull fans see it the way you do. The answer: with certainty. Because Tull fans are, like fans of all bands, a bit conservative by nature. They love Tull (or their respective favorite combo) for what they do wereand not for what they become. In the most arrogant phase of my youth I would have said that people like that (you) are not really fans (koine eschten fan adigger). But to say so would be as arrogant as it is stupid. Everyone should pick what they like. But then please don't grumble when a record like Under Wraps makes you feel strange.

Unfortunately, I don't know the Whistling Catfish article, but if he claims that Under Wraps is a masterpiece, I agree and I could make good arguments for it.

I'm always very reluctant to judge something I don't like. Because if I don't like something, I'm inclined to do it badly. But when something is bad, it doesn't matter whether I like it or not. I can then criticize it with good arguments, but I can also let it be because life is too short.

I hope that was helpful.

Best wishes