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- Jethro Tull A Passion Play (Edit Number 8)
- Jethro Tull - A Passion Play (Edit #8 and #9)
Now we thought it was time to do something a bit more serious and make an album that wasn't a spoof and wasn't meant to be fun. Our original plan was not to make another concept album. So we abandoned what we'd done and went back to England. The concept grew out of wondering about the possible choices one might face after death. It was a dark album, just as we had intended, but it was missing some of the fun and variety that was in Thick As A Brick.
The critics savaged us. Chris Welch of Melody Maker and Bob Hilburn at the Los Angeles Times wrote really negative reviews that everybody jumped on and reprinted or based their own reviews on. It really snowballed from there, and we got a fair old pasting for that one. On reflection, the album is a bit one-dimensional. It's certainly not one of my favorites, although it has become something of a cult album with some fans. Chris Welch is a great reviewer and I learn a lot from his critics about rock music. Album Review "A Passion Play part 1" - The album starts off with a relatively complex and less-melodic music which would grow to a melodic one with many spins combining multi instruments including woodwind and flute.
This part is where most people would most likely reject listening to the remaining part; nothing so attractive about it. It once happened to me when I first listened to it for the first three to five spin. At approx min  Ian voice enters wonderfully with powerful accentuation : "Do you still see me even here?
The silver cord lies on the ground. Acoustic guitar inserts into the music during this first verse lyrical part that ends with: "There was a rush along the Fulham Road into the Ever-passion Play. Hammond organ solo continues the music and with the fading in of drum work the music turns into complex and fast tempo music with soprano sax as lead melody; and suddenly it breaks into silent passage where Ian continues with the second verse of lyrical part.
The music then turns complex again in uplifting mood combined with low points with acoustic guitar work and with the drum brings the music into foxtrot, followed with third lyrical verse: "All along the icy wastes there are faces smiling in the gloom. I like this part. It's a truly musical orgasm for me whenever I enjoy this part! Especially when Ian continues singing "Invest your life in the memory bank.. At approx min  Ian Anderson plays his flute brilliantly and dynamically followed with fast tempo music with great drumming.
The music is complex, overall. And the fourth lyrical verse continues with : "Take the prize for instant pleasure,.. The music increases with energy when Ian sings "All of your best friends' telephones. Piano and guitar play together with sax, Hammond and drums. The music then stops for a while and moves up again with piano as main rhythm section and guitar work followed with lyrical part that begins with: "Lover of the black and white it's your first night.
It slows down beautifully when it reaches unique vocal line: "The examining body examined her body. What a great break! The other great break is when Ian sings with acoustic guitar rhythm as background while other instruments stop playing for a while: "All of this and some of that's the only way to skin the cat. What a wonderful narration and accompanied with a Tom and Jerry type of music.milena-ori.com/js/6-hydroxychloroquine-vs.php
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The musical composition is different than the first part but the main style is still maintained, i. At approx min  the music moves up differently with a combination of organ and drum work. Keyboard and piano work also characterize the music. Part 2 music is overall much more complex that Part 1. At approx minute  the music turns differently with the entrance of guitar combined with organ and flute works followed with a lyrical verse that starts with: "Hail! Son of kings.
I thought that this ending part is a sort of disjointed portion of the whole epic because the style is totally different. But as I spin the CD more and more it feels to me that this can be considered as the epic's encore. Fortunately, the ending part of this last portion brings back the music into melody line similar to Part 1 with this lyrical part: "There was a rush along the Fulham Road into the Ever-passion Play.
It's a rewarding experience! Summary Big apology for the long review but overall I can not put this album less than five stars rating. It's truly a masterpiece. I consider that this album is even better than the previous ground breaking "Thick As A Brick". If you can not accept this album, please give it a chance for another 5, 10 or even 15 spins. I hope it'll grow. Otherwise, keep on proggin'..! This must be one of the most complex albums ever But, complexety does not make a good album!!!
But it seems that in this case complexety has much to do with the final product. The musicianship, or better yet, the way the instruments are presented is very diferent from other Tulls albums. This is because the guitars have a minor role but at the same time keyboards are constantly there; John Evans does his best work ever with the group. The other weapon of choice is Jeffrey Hammonh-Hammond, whos bass is also a very important part of the 2 long pieces, as well as the voice that tells the story of the hare who lost his spectacles.
Then there are the drumms. As I already said the guitars play a minor role, yet they are constantly present, but not doing solos or fills, but as a supporting instrument And finally we have the bones, heart and brain of Tull Ian Anderson, who plays the sax, quite good I might add, as well as the flute. But his acustic guitars are also different, his signature folkish kinda playing is here not present, for it has changed to a some what more classical touch But I just went on and on about the musicianship, but did not said anything about the music inself, other than its complexety The 2 pieces are pretty much just one 45 minutes song, with a fairy tale in the middle.
The music is hard to swollow some times, and Ians lyrics and voice are different from other albums. Although there is a constant irony behind his words, they are not really funny as in previous works, but dark. I find them incredibly interesting! The way he mocks very seriously about some things From all the Tull albums I have at this point, and they are not much I dont have Thick as a brick My first hearing was an astounding adventure: I was literally crushed! But some demon inside told me that this work should not be well received by the mainstream and even the sidestream peers.
Later, I read the critics and realized that "A Passion Play" wasn't properly lighting the neon. What a pity! Well, nothing better than the elapsing of time and when the 20th Century faded and the new millennium arrived, apparently the comprehension of this work improved hugely or maybe, averagely. Many people are considering, now, "A Passion Play" in the same level of "Thick As A Brick" a JT's magnum opus for several honest fans or even in a higher position - a posture able to get an asylum passport 30 years ago.
I wasn't really one of those probable asylum dwellers but I always considered that either epics were more or less leveled, with "Thick As A Brick" a bit overrated, maybe for being the first to be born. Unlike its older cousin, "A Passion Play" hasn't a main theme being repeated here and there, except for the intro and the end.
The piece is a bunch of average-to-good songs that keep a general homogeneous atmosphere; the real link is done by the lyrics and mainly the band's playing - seeming sometimes foolish and vague, but never deviating from the target. Never before, Jethro Tull played so harmonically; Ian Anderson had the vocals and splendid saxophone solos, but keyboards, guitars, bass and drums had their peaks along the song - great moments indeed.
I forgot to mention the interval curiosity summoned by the name of 'The story of the hare who lost his spectacles', a psychedelic fable, excellent to learn some Lancashire accent, according to my British friends, isn't it? And finally, how to rate a work that has a different passion and a difficult play? I recommend "A Passion Play" for all serious and diversified prog collection. Total: 4. Rather than the ambitious Tales of Topographic Oceans taking the blame for everything wrong with Progressive Rock and making the public lose interest, I think this should been that album.
It is amazing how can a band that releases masterfully crafted classic rock albums like Benefit, Aqualung, and the sophisticated Thick as a Brick can suddently lose the inspiration and release a Thick As a Brick wanna be without the direction, melodies, and charm that made Thick as a Brick so successful. The only things remaining are the great musicianship and the poetic lyrics from Ian Anderson.
Just check on the internet the lyrics and you will be amused at the poetic talents of Ian. Also, the keyboardist here sounds like a hybrid of Charly Garcia and Italian prog keyboardists with his synths while Ian plays great flute and even the sax, the rhythm section is strong, and the guitar player plays a led-zeppelin-style kick ass riff near the ending.
Sadly, those two can't help the disaster that this album is. The story begins and you can hear that the musicians are playing complex arrangements, but are they good? I really can't remember much after it as the melodies are weaker than ones I could compose myself and I'm not a composer at all! How can the band compose such unremarkable melodies when they were the complete opposites with songs such as Aqualung and Thick as a Brick pt1? Lack of good melodies are not the only problems with the album as I stated in my first paragraph. I think the biggest problem with the album are lack of ideas and inspiration.
Not only are the melodies weak, but the themes and riffs, and even the solos too. Everything in here is so uninteresting that it makes it a dull moment in your life to spin the disc. While the transitions aren't horrific cut and paste jobs, they still make the album incoherent and directionless. If you want an example of the bad things about mixing music with humor, this is the first place to look. The story is silly and the humour is pathetic and irritating after a couple of listens.
Ian makes a fool of himself with ridiculous vocal tones and the band plays childish theater soundtrack to follow the music. Remember when the band seemed to follow the lyrics brilliantly like in "My words but a whisper -- your deafness a SHOUT. Now, you hear Evans do cheesy 'shakes' to create tension I guess, but they are so out of place. Finally, I haven't addressed the final problem with this part: Why is it in here? It doesn't suit the song musically and is really put as a cut and paste job in the middle of the epic just after it was kinda getting good.
This song within a song almost makes me put 1 star in the album. For diehard Fans only. If you are not a fan of Jethro Tull, you'd better stick with the early great albums and their mid-career gem Songs From The Wood. Do not start the band's discography with this one!! A Passion Play Part 1 4. So this one had been Tull's most controversial album ever and actually I can understand that rock critics and fans being more into mainstream rock had devaluated it since it had been undoubtedly their most complex and hardest approachable work.
Actually I liked the overall darker mood of the music right from the beginning but it really took me numerous spins before I've been able to memorize some parts of it. The two-parted compositions is much more dominated by Anderson's sax and Evans' moog playing than any of their previous releases and resembles rather bands like Gentle Giant or VDGG than typical Tull. The album's concept which had been designed as a stage performance is centred around the story about death and afterlife of a guy called Ronnie.
I wouldn't claim that I went already deeply into the lyrics which are even more difficult to understand than the ones for TAAB allowing multiple interpretations but for better understanding I can just confirm my fellow reviewer Dex F. Actually it didn't work with me at the first place but you should go to www. There you might get as well explanation why they've put this strange and hilarious hare-story which isn't related at all to the concept in fact right between the two tracks.
As far as I understood you've got to imagine the record as a stage play and I guess this short nonsensical yet amusing story had been meant as a refreshing break for the audience to recover a bit from the quite serious topic of the main story. And I've to say it's quite nicely done much in the vein of "Peter and the wolf" and I didn't find it disturbing at all. Anyway apart of that the artistic performance of all band members is just stunning here and this album offers some of the best sections they've ever done during their career.
In my view The Play should be considered Tull's second masterpiece after TAAB and anyone who appreciated that one should find this one enjoyable as well, at least after a couple of listens. Some people might find it too pretentious but IMHO it wasn't but rather a masterpiece of progressive music!! The problem with this album is in the fact that it's much less homogeneous then it's predecessor, while sharing the same amount of complexity and diversity.
However, I'm doing the same thing as most of the reviewers are: I'm comparing it to "Thick As A Brick", which is maybe unavoidable, but it's certainly not very fair: there's plenty of other Tull albums from the same era to conclude what status "A Passion Play" deserves. If we look at it as a isolated entity, this is a very good album, with excellent cover, witty Anderson's lyrics and superb musicianship.
Anyway, this is the first and the last, I think appearance of soprano and sopranino saxophones on Tull record, played by Mr. Anderson himself. Album contains boldly used Moog synthesizers; keyboards are all over the place, most of the time emphasising Ian's vocal perfectly "My touch, freezing". Hammond is ridiculously overdriven more than on any other Tull album. I never heard something similar before or after.
I would not comment the theatre play related to "A Passion Play" and I won't compare the album to the "Chateau D'Isaster Tapes"; I'm not very familiar with the happening at the time, and it's not very relevant to the music itself, really. It's rather pointless inclusion in the middle of the record, but it's fun, and it's high-quality work. The video spot is great too. Anyway, if there is any chance to avoid comparisons with other, more or less similar Tull's album, and if we try to criticise this one from the sheer musical point of view, than we have an excellent, epic-long jazzy symphonic record with touches of folk, of course with omnipresent "tullness" all over the place.
So how can I say that "A Passion Play" is not good? After a looooong period thirty years : so you can add several ooooooo's , I re discovered it. At first, I was quite disappointed. The Tull obviously tried to match "Thick" which I had discovered in the meantime. This album is not as catchy as "Thick".
It will also be poorly appreciated by the rock reviewers and press in general. I could not blame them. When I listened to it back in , I thought : hey! I spun it only a couple of times till recently. Since I decided to review the whole of the Tull's repertoire I tried again and again. I think that I have listened more to "A Passion Play" for the last three days than for the last three years for the purpose of writing about it. After a few spins, my meaning started to change : part one was rgood with very few weak moments. Not as melodious as "Thick" but a dark, profund prog track.
Too little fluting though for my taste. It took me another four or even five spins to be able to get into part two. It is really hard. At first I remind you that this was more than thirty years ago in my case , I considered the cabaret-type intro as funny you know "The Hare". When I rediscovered it, I found it boring, dull : in a word useless. This is still my feeling. Another minute or so of average "sounds" and there we go again for another good Tull moment. And again I tried and tried.
Till the moment that I effectively believe that this is a very good Tull album. Not reaching the masterpiece level, but I can tell you, my rating for this one was two stars when I started to prepare my first hundreds of reviews to be posted here. Two months have passed, and I got used to "A Passion Play" and started to like it, even if it will never bring me true "Passion" like other Tull albums.
It is definitely not the Tull album to start with. If you do not like at first sight, forget it a bit, then come back and listen carefully. You'll be rewarded, really. Seven out of ten. Can't understand what it's about? This album was based on a real art form. A passion play told the story of Christ's trial and death, and the form developed over the centuries to include everything from the fall of Lucifer, the creation of man and the second coming.
Even 'Jesus Christ Superstar' has elements of the passion play. Dante's 'Inferno' meets the Gospel of St. Lack of melodies? The problem is not the lack of melodies, but too many, all falling over each other to be expressed. The album is either too short or too dense. Probably both. Quite the opposite. Such an interlude is an essential component of a passion play. Treated humorously, it is the equivalent of a Monty Python episode, and introduces levity into what is, by and large, a serious album.
Treat it as an intermission. Take it out if you've had your humour gland removed. After all, this album is five minutes longer than 'Thick as a Brick'; it isn't as though you've been short-changed. Speaking of 'Thick as a Brick', doesn't it suffer in comparison to that masterpiece? Well, yes, so does almost everything.
That's not a reason to dislike this. And the extra instruments certainly creates a more varied sound than TAAB. The citics hated it. Yes, they did. But you'll find that the most trenchant critics of this album also harboured a grudge against progressive rock in general. This album was followed by 'War Child' shudder , and TULL'S subsequent exploration of folk and heavy metal has always smacked to me of a retreat, the antithesis of progressive music.
So what's good about it? Great lyrics, an excellent concept, melodies all over the place, superb musicianship go to 11 minutes in and listen to the jam, superior to the TAAB jam at 7 minutes on that album, in my opinion , and some great composition 'Best Friends', at 13 minutes on Side 1, is outstanding, as is 'Overseer Overture' on Side 2.
It's a little disjointed; it did have a chequered history and could have done with a little more thought and development. But what is here is magnificent. It is not, however, my least favorite album either. Arguably the most misunderstood album in Tull history, Play is over-loved by fans and over-hated by critics. I like to think of myself right in the middle. When I say good but not essential, that's exactly what I mean.
What restrains the album is probably not what you think; at least, it wasn't what I thought at first. Initially I thought the album suffered from lack of time to prep and record, but Thick was also created very quickly. Alternatively, I thought it was a lack of humor; I had heard that Play was very dark.
And it is dark Actually, it's not dark at all. Lighter than Thick, lighter than Warchild even.
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I mean, the subject matter, life and death and all that, is pretty heavy, but it's just performed in such a toss off way. Besides, how can any album with the line "Flee the icy Lucifer, oh he's an awful fellow" be dark? Nope, my problem with Play is two things: first, I find it to be fairly unmemorable and un-diverse. Secondly, it's a total sell out.
Which is not to say it's not a progressive nightmare, it still is. In fact, it's Tull's most "progressive" work. But it's still a sell out. We open with the amusing, and somewhat deceptive, overture. It's sorta folksy and bouncy, and reveals the introduction of our newest instrument, the saxophone! How is Ian's sax? Well it's It's not fantastic either, instead of playing it like a real cool jazzy dude, Ian plays it like a merry medieval instrument. This fades into some acoustic musings from Ian by the way, if you have never researched Jethro Tull at all, the plot of Passion Play is a young man's travels through the afterlife.
It really doesn't stick with me because I can't remember any of it. Oh well. That turns into a bit of saxaphonery with some keyboards mixed in for good measure. You do?!? Oh good! Then this album is for you, because that's all that's on it! Anyway, this goes on for a while. There are little snatches of possibility a violent sax solo, some church organ , but nothing sticks around long enough to become anything. A word about the lyrics, they're great "here's your ID, ideal for identifying," the infamous "ice cream lady". They're not backed with particularly memorable melodies, which would be okay if I still had the lyrics sheet, but I lost my liner notes.
Getting back to the review We continue with some more samey sounding stuff. Occasionally a guitar pops in here and there, and there's one decent flute solo, but all in all, doesn't click. A fairly popular bit of noise is called "Lover of the Black and White. It also contains some great spoken bits from John Evan and Jeffrey. We gradually return to the overture theme.
This eventually morphs into "The Hare Who Lost his Spectacles," a childish fable dropped on its head in the middle of Ian's most bombastic work ever the point of course being that real medieval passion plays always had little fables in the middle like an intermission, yadda yadda yadda, history lesson.
It's VERY underappreciated, in my opinion, and needs to be given its due. Perhaps you can't understand it without the video, but trust me, it's hilarious. Spoken word via Jeffrey backed by a real orchestra, instead of just John's keyboards although John gives the quick spoken intro, great stuff. All the little blobs of music, the pauses and sound effects, the over-exaggerated sniffing, works perfectly with the narration.
Now, back to the album. But then we meet Satan If there is anything on the album worth talking about, it's this. The "Overseer Over You. Ian's vocals are over the top, but hilarious. The keyboards are spacey, but cool. And Martin's guitar actually comes through for a change he's playing out of a box; like on "Cross Eyed Mary! And Ian? Possibly the greatest noises he's made the sax ever produce. If Passion Play produced a classic number, it was the "Overseer Overture.
Although I like the jig instrumental bit. For some reason, we are next hit with some acoustic strumming that reminds me of Hawaiian music hmm This takes a very sharp transition, and turns into the energetic "Make the Ever Dying Sign" movement. It's not bad, but as I've said before, nothing you haven't picked up before. Just faster this time. Although I like the chorus bit. There's some final acoustics to show we've come full circle, and one more shot at the overture and we fade.
Now, remember how Thick ended? Yeah, it was awesome. Not so much. It just sort of falls apart in a lackluster kind of way. All I like is that brief shouting what's he saying? Maybe if Ian ended it better, I might be persuaded to raise rating, but So, as I've said, Passion Play is a collection of interesting musical ideas that are extended beyond their abilities, and any diversity is killed by overuse of Emersonian synths and weak sax.
Not that I have anything against John's keys or Ian's sax, they're all well played, but remember Thick? There was a friggin' drum solo! Now, there ARE some decent guitar and flute parts, but they're buried poor Martin or few where's Ian? Barrie and Jeffrey are screwed though. So, lotsa synths, but the album can't work as atmosphere because it still tries to be engaging, nor can it work as listen-to music because it's not particularly memorable. Is it interesting? But not particularly good.
Jethro Tull A Passion Play (Edit Number 8)
Now, what do I mean by sell out remember that? Up to this point, the Tullers were embracing early seventies alt-rock, but it was always on their own terms. Try to describe Aqualung using other bands: "if the Who had Eric Clapton and John Lord instead, hired an orchestra, and tried to play some hard gothic rockers with a little Bach thrown in for good measure.
Yep, even though Tull always had their own unique Tuller sound, with Passion Play, they play what sounds like everyone else around them mostly due to the over reliance on John's spacey keyboards. But still you see my point; Passion Play is a sell out in that it sounds like other popular albums at the time instead of that unique Jethro Ian noise. Not that I'm saying it's a total waste of time. And I can understand why some people adore it.
The first side has its moments, and the second side is almost cool. Of course, I can also understand why some people can't stand it Passion Play comes with but one extra feature: a video! And it's the greatest Tuller video this side of Slipstream. In fact, it's a better saving grace for the album than the "Overseer Overture.
It is also one of the trippiest not recommended for newcomers , most hilarious pieces of rock theatre ever recorded. If you're having trouble getting into "The Hare," you need to see this. Helped me. Jeffrey is the devil. Barrie is a cameraman who chases ballerinas. There's some guys in really bad bee and newt costumes. Best moment? It's almost scary to think that someone gave them money to film this. It doesn't raise the overall rating a point, that would be too kind for a single video, but it easily raises it to a 3. In fact, maybe even the record alone gets a raise from the video, since it honestly helped me appreciate the album more.
Seriously though, if you consider yourself a fan of Tull, prog rock, or just whatever, you need to see it at least once. Did I mention Jeffrey is the devil? When Ian first starts singing, for example, it sounds kinda Lines like "She lay her head upon my disbelief and bathed me with her ever-smile" just about make me want to puke.
But let's not forget what a splendid instrumental introduction the album has! And with the "All along the icy wastes From then onwards, the listener finds himself on a rollicking rollercoaster ride, full of exuberant folk-rock dances, brash guitar riffs, pretty pastoral intermezzos, manic flute and sax solos, and crazy keyboard interludes. The sheer variety of sounds and melodies is exhilerating, and when on the original B-side Ian reaches the passage "Colours I've none - dark or light, red, white or blue", the band rock as hard as Jethro Tull have ever done.
I see no need to use the word 'self-indulgence' in such a context. In my view, A Passion Play is simply brilliant. Following on the heels of Thick as a Brick, Jethro Tull attempt the impossible: to top a masterpiece of long, shamelessly excessive rock with another album even longer and more excessive. However, in this case I believe Jethro Tull succeeded, if not in topping Thick as a Brick, then certainly in equaling it.
The subject matter and general vibe of A Passion Play is far darker and more serious than Thick as Brick, dealing with religion and death. The music takes a little while to get going, and it takes a few listens to get your head around the not instantly accessible melodies, but I've found that this depth is one of the most appealing things about the album. For me this is truly the hallmark of a great record.
Many albums that sound amazing the first time around start feeling empty and trite with repeated listens.
Not so with A Passion Play. All this seriousness and gloom is interrupted halfway through, with the delightful and humorous story of the hare who lost his spectacles. Many other reviewers find this interlude stupid and pointless, but I love it. It is filled with puns and clever wordplay and is reminiscent of the writings of A. Most importantly, it injects some much needed levity into the dark and brooding music that surrounds it. The quality doesn't suffer on Side 2, probably because there are lots of musical ideas and the piece doesn't rely on repetition as much as its predecessor.
A Passion Play is a masterpiece from start to finish and as good as anything else in the Tull catalog. I highly recommend it for anyone interested in long form and classical music, as well as Jethro Tull fans who haven't yet taken the time to hear it. It seems than every major prog band back then released an album ''good'' enough to be crushed to pieces by critics and some of their fans.
Another concept one song-suite! Why not? Don't fix if it ain't broke, they say!! All the words used to decry a prog album were used with profusion such as pretentious, over the top, self indulgent or pompous. What was great with TAAB suddenly has disappeared with the new album, replaced by worthless music. This is not an album to hate or reject, neither it is an album i worship!
There are some pleasant parts like the beginning of the 2 parts with nice ANDERSON vocals, some nice instrumental parts that are very energetic and enjoyable like on part 2, some other kind of dull noodling like at the end of part one. Some melodies are memorable, some other suffer from originality, or lack of! When he is not singing, he is fluting; when the flute stops, time for the saxophone!!
I have to wait the end of the album to finally notice him. Again, i am in the middle for this ''masterpiece''; it's not bad, it's even entertaining, but it could have been well shortened!! There is nothing wrong being funny even for a serious prog musician. Not a bad album, even pleasant to listen to on some occasions. Am I right? All of the great artists through history had works that were hated by contempararies and in many cases considered offensive. What is puzzling is that 'Thick as a Brick' is used as a lithmus test for the album and is praised and stroked like the pretty golden child while 'A Passion Play' is the ugly step-child kept chained in the closet.
My opinion is the opposite of most in that TAAB is an off target first attempt at a concept album and APP meets the mark in a more adventurous progressive manner. And certainly the most unfair comparisons to Yes' metaphysical monstrosity 'Tales from Topographic Oceans'. The album starts with a bouncy main theme with a circusy feel to it that morphs into a classic Ian Anderson accoustic guitar vocal movement. The main theme returns with a more sinister feel, alternating through the accoustic piece.
The music flows into a jazzy feel with multiple winds, not the least of which is Anderson's ethereal flute. Throughout the albums first side the main theme is hinted with increasing sinister modulations. The 'skin the cat' portion, as I like to call it, is the heaviest and most sinister porion of the side. The side closes with the part of the album that makes the most people stomp around angrily, 'The Hare who Lost his Spactacles'. I love the intermission.
My feeling on 'The Hare who Lost his Spactacles': regurgitated from one of my forum posts: I love the story. I think its an outstanding metaphor for what was going on socially in the western world at the time. The anthropomorphic representations of establishment: Hare - The youthful idealist who has lost his spectacles and therefore his vision.
Bee - The laborer: Is ready to help, but not the best thinker. Kangaroo - The leader, mother: Hare is far to big, and independant for mother's help. Owl - The wise, the forefather, the man: Has the wisdom of the ages, but conventional wisdom is old and tired I'm still a little puzzled on what newt represents. In the end the lost spectacles were his own affair mind your own business!
Maybe it means nothing, but I doubt it. Its presented like a fairy tale. And nearly all fairy tales have a moral. The second side starts with anoter classic Ian Anderson accoustic guitar and vocal part with very dark textures. Most of the second side holds a more consistent theme of its own with occasional recalls to the side one theme.
- Passion Play Edit #8 Sheet Music | Jethro Tull | Guitar Tab.
- Jethro Tull lyrics : "A Passion Play (Edit #8)".
- TAXI - YOU SHOULD WRITE A BOOK (CHAPTER 2 - ANGEL I DONT THINK SO);
- HEAVEN: A Joyful Place.
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What stands out on the second side is Andersons use of saxaphones which provide a very distinctive sound to the album. I have read interviews with Anderson regarding this album. It is certainly not one of his favorites. Thank you Mr. Anderson for letting this fine work stand on its own. I think that's probably why this album doesn't get a lot of respect.
Actually, being a Monty Python fan, that doesn't bother me a bit. Passion Play is musically very interesting and has some great lines: "All along the icy wastes there are faces smiling in the gloom. I'll show you the door. I'd give up my halo for a horn and a horn for the hat I once had.
The music here certainly has some of the important qualities that define classic prog. It's got dark moments, complexity, and moments of beauty, with a few silly things thrown in for good measure. They really don't make it like this any more. May actually be the only time they've made it like this, period. Maybe a bad or a good thing. Not a bad thing for me. We can't fault the musicianship; the band is in fine form here and tries to bring infuse energy into to the lifeless compositions.
But by nearly any other measure by which I rate an album, this is a failure.
It's Thanksgiving here in the U. Newcomers be forewarned: this is not the place to start your Tull collection. Jethro Tull's A Passion Play has to be one of the most controversial albums ever to hit the market. I don't claim to be an expert on the subject, but simply in seeing that it comes right next in line after the Godly Thick As A Brick makes one know that expectations are going to be high, and any slight disappointment it going to be magnified infinite times by the fans, as unfortunate as that is. It's not surprising to see the reaction that this album gets from many critics.
This is indeed, Tull's most bizarre album. Anyone venturing into its territories is going to need a sense of humor and an ear for the extreme end of things. Lyrically it follows Thick As A Brick with its satirical views on everything in the world, but while Thick. Of course, the music can be expected to be just as strange, and it is.
Where previous albums helped define the prog-folk subgenre, this one tends to use more lofty and strange synthesizers, at times relying on them entirely to complete a given section of music with one recurring obscure synth riff. This is not a bad thing however, since the flute is not hidden away entirely and still gets played here and there, not to mention that the pressing synths are actually a welcome change to the music. It's very clear to see where disappointment would have come from after a seemingly serious album such as the previous two. A strange bed-time tale from the band which has been dissected with semantics hundreds of times over but in the end is likely just a strange spoken-word middle section to break up the monotony for the band while playing a live show of the album.
Enjoyable, if confusing the first time you hear it, this section of the song is best taken without a serious tone in mind. Really, what we have here is an excellent album from an excellent band. Stating that the album is misunderstood would be a redundant and vague overstatement, but really, it can be. Not for the faint of heart, this one is still easily recommended to prog fans everywhere and people who fancy themselves Tull heads. Just consider yourself warned. Not quite a masterpiece, but close.
Whereas Thick As A Brick's approach several songs welded together, and parts of pt. I did like this on the first listen, but it took a lot longer to remember the melodic hooks and clever twists in it. In short, the issue is very much one of cohesion and the opportunities for real twists rather than small additions.
You can get the same bar of music leading up to a completely different entity, and that does grow on you. All of the flow is more deliberately handled than on Thick, certainly, but with Thick As A Brick, you come to love the problems as well as the greatness, and with the more clinical approach of A Passion Play, that is not the case. Ian Anderson's vocals most of those here, though John Evan and Jeffrey Hammond contribute a couple of spoken lines , lyrics, acoustics and flute are excellent as ever throughout the entire album, and the more prominent use of his sax which isn't generally great, but does contribute to the more chaotic and dissonant sections of the album.
Anderson's vocals on this album may well be his best ever though my money's on Baker Street Muse. The other standout player is John Evan, whose hearty application of piano and organ for blocky, delicate, effervescent, grandiose, forceful and hectic sections in equal measure is a welcome development from Thick As A Brick.
There are also valuable glimpses of VCS-3 in both the more chaotic and careful sections. Martin Barre generally seems rather more carefully applied on this one, so carries a lot more weight when he does burst out of the woodwork.
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Barriemore Barlowe has, somewhat deliberately, not so obviously spotlighted the glockenspiel on this one, and gone more typically for occasional bangs on tympani, as well as some very interesting rhythms I don't pretend to understand them, I just find them interesting on the drums. He contributes well throughout. I suppose the player I find least enjoyable on this one is Jeffrey Hammond -Hammond , who is still an excellent bassist and completely adequate. My small issue is that I loved his connecting bass on Thick As A Brick, with its oozing, flowing feel, and I find the bass on this slightly less distinctive.
Nonetheless, his bass throughout is very good, and has its moments. Now, that's just an overview of the musicianship. The combination of these things, and the masses of high-quality interplay in an initially overwhelming array of styles whether that's pure acoustic guitar and piano, harder rock, chaotic jams or even the parodic Hammond-narrated Story Of The Hare Who Lost His Spectacles is half of what makes this album so exceptional. There are very few moments, if any, where I feel someone is taking away from the mix. The much-loathed Story Of The Hare Who Lost His Spectacles, in my opinion, is a fairly amusing touch, and doesn't clash too much with the rest of the album.
I could see it being split over the two sides as an annoyance on vinyl, but I think it's transferred well to CD format. The other half is the composition. Anderson's writing provides clever catches and multiple cases where you have the same lead-up to two completely different sections and end up virtually tripping over yourself in either admiration or surprise as you hear the twists.
The overture is neatly done, and the choices of instruments throughout is grand. This is not at all trying to be Thick As A Brick, it's trying to be a one-song concept album, and, as a rule, it succeeds monumentally at that. I do get a little irritated by the 'Overseer' section, and I think an ending with slightly more aggression or force would have been more desirable, though probably not better-suited, but otherwise the whole piece is fantastic listening. After sufficient acquisition time, this album definitely begins to grow on you, and there are some incredibly good moments, both lyrically and musically, but its increased panache doesn't always result in an increased charm.
Essential listening, for curiosity and interest as well as quality. The flow is impeccable, and the benefits of the one-song album as a basic concept are on display throughout. For the hard-core proggers this is clearly of much greater interest, and noone should miss out on this album. More trivially, this is one of two albums to which I have been caught playing air acoustics very badly.
I'm restraining myself from awarding five stars, but only because my personal preference finds itself elsewhere at the moment. Rating: Five stars in contradiction to the above edits are edits - preferences changed a little. Favourite Track: Ian Anderson unwittingly mocks my review format.
I'm as likely to listen to this as anything by Tull these days. That being said there is a level of music here that goes beyond Tull's usual blues and folk base and even conjures up memories of Van Der Graff Generator and Gentle Giant. It is probably the most experimental Ian ever went and Anderson was severely beaten up for it in the press.
That must have had some effect on him as you can tell by the next two albums which brought back shorter and simpler but still good formats. Still there is a lot to like here. The band is in good form and the music for the most part is stellar. Surely more dark than and not as uplifting as TAAB and more mysterious than Aqualung it still has ways of grabbing you when you least expect it. It is sad that Ian has turned his back on doing a medley of some of this material in his live sets because I think it would have been good to hear.
Without The Story of the Hare Who Lost His Spectacles narrated by Jeffrey Hammond- Hammond and replaced by another song this would be easily a 5 star album but I seriously cannot rate this as high as the last three albums in their catolog. The last of the progressive rock era of Tull as we knew it still rates 4 stars social review comments Review Permalink Posted Friday, May 30, Review this album Report Review The continuous upward trend that Jethro Tull had found themselves in ever since their humble Blues Rock beginnings in could not go on forever.
A Passion Play is inevitably a lot weaker, but still in my opinion a decent effort in its own right. Like those efforts by Yes and Genesis respectively, A Passion Play too is much less good compared to its immediate predecessors and even slightly rambling in places, but ultimately a worthy album with several very good moments. It is obviously an attempt to be funny, but it really isn't funny at all! Just totally annoying and silly.
I am certain that if this story had been left off the album completely and that the music too had been somewhat trimmed in places, A Passion Play could have been a better album. It would still not have matched Thick As A Brick, but it could surely have been better than it is. While the quality of the material on this album is clearly lower than on Aqualung and Thick As A Brick, the band's sound continued to evolve. The composition is musically and lyrically very complex and the instrumental palette is broader than ever. There is more Jazz influences here and the saxophone makes its first appearance on a Tull album.
There is a wide array of various keyboard instruments. Had this been the band's sole album, they would no doubt be listed under Eclectic Prog rather than under Prog Folk. A good play, but there are many better Jethro Tull albums from both before and after this one social review comments Review Permalink Posted Saturday, July 19, Review this album Report Review I have always gotten the impression that, under pressure from a whole lot of directions, Tull took some average-quality music, hastily mashed together into some really long tracks to mimic the format of their highly successful previous album, and then released it.
I firmly believe that the music would be much better if the individual songs were divided up and wrapped up and presented like the individual songs they should be. Instead, we got an awkward medley of this and that, something like an album thrown in a garbage compactor and condensed together. And I think all of it suffers because of that. Clever ideas just get lost in the mayhem. And don't get me wrong, there are some really neat bits in here.
Some of Ian's flute strains can rank up there with his best moments ever. There are a couple of really neat melodies. It just leaves me kind of sad, I suppose, looking at what could have been developed into a wonderful follow-up album, rather than the chaos it results in. Also, I would have appreciated the ability to skip past The Hare and His Spectacles, which isn't terrible or anything, but there is no way it can be listened to with as much frequency as real music can be.
Jethro Tull find their feet again after this record, at least after a few more years, and they return almost to a place almost as high as what this album by all rights should have been. Serious Jethro Tull fans will probably enjoy this release well enough, but as far as an album goes, it's pretty weak.
Part 1, tension, the melody in the background, some noises, the stereo through the boxes, and increasing The band starts the journey almost a theme tune with different hard and of course that the whole sound of Tull is there, but they opened the range of influences, for sure! Part folk takes on a tragic and emotional, the guitars that Ian Anderson plays are excellent, the melody is difficult to engulir of first.
But hey! Another high point is the low Jeffrey Hammond-Hammond unparalleled, and even more from the battery of Barriemore Barlow. Some saxophones throughout downtown give a taste of more, and of course we have John Evans playing the keyboards, yuuupi! The guy is very good. Lines excellent! More part melodicamente complex and difficult to digest is as follows, but as soon as you can throughout the indigestion becomes a pleasure, who want to run the risk! Then the flutes catch fire, this is another brand of Tull, the always excellent flutes of Ian, he plays the way of crude, not so classic, almost always in the fast passages of music.
More parts and vocal melodies difficult. Overall this disc is very complex, I think that is why most of the staff remember The Thick The Brick, which is also very complex, but the melodies are much more accessible, the guys here have tried it. It is a continuation but is not. I love the parties that everything and move to the melodies and then suddenly changes again, that they are kings. Until today I wonder how so many parts fit on the head of personnel of the band! The 'near-final' with piano and voice is creepy!
Here is a melody of guitar and a 'hit', some keyboards and flutes and of course the bottom solando like crazy. But the keyboards are even taking account of the epic final track. The Passion Play Part 2 - The Story Of The Hare Who Lost His Spectacles What opens the second part is The Story Of The Hare Who Lost His Spectacles, a tale 'child' which tells the story of a hare which loses the glasses and is helped by animals of the forest, not yet well understood that the co-relation music in the second part, but is so good to hear Jeffrey telling the whole story with that accent and I dragged me uncomfortable.
The instrumental part of this is undoubtedly one of the prog worked throughout the world only compared to the geniuses of the Gentle Giant, complex enough to say. When the band around it seems that nothing happened, back across the sensational tone of Jethro Tull we love. In this second part some passages resemble somewhat the Thick The Brick The first part, which is very natural.
Many synthesizers animals across the track, sounds and everything back 'to normal', these guys are good. Many letter that disc as well as before is very complicated prepare these 'texts' for music giants. It is not just writing out, have to make some sense. There is a part near the end with guitars and a keyboard that's too much, a very nice melody martial, must have been written at least some four guitars here.
And then The guitar comes with everything a melody that is not strange, I think now of the repertoire of the guys, some keyboards of hell and a fantastic voice! Having said that, I must admit that I missed "Passion Play" completely.
Jethro Tull - A Passion Play (Edit #8 and #9)
As revealed in my review of TAAB, I was so disgusted by what I perceived to be the blatant commercialism of "Aqualung" that I childishly turned my back on one of my favorite bands and boycotted every offering they released thereafter. Thus it wasn't until this millennium that I came to my senses heavily influenced by the esteem that my proggy peers place on Jethro Tull's contributions to the cause and delved back into what I cavalierly dismissed like some spiteful lover scorned. The downside of my infantile behavior is that I denied myself the pleasure of the group's creations for decades.
The silver lining is that it's not too late and now I get to discover them anew. It's apparent that "Thick as a Brick" is pretty much universally accepted by proggers young and old as a bonafide masterpiece, and rightfully so. Sell it yourself. Get the item you ordered or your money back. Learn more - opens in new window or tab. Seller information investorinc Contact seller. Visit Shop. See other items More See all. Item information Condition:. The item you've selected wasn't added to your basket.
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