Papir "VI" (2019)

VI

release date: May 10, 2019

format: digital (4 x File, FLAC)

[album rate: 3,5 / 5] [3,52]

producer: Lars Lundholm [rec.]; Troels Bech [mast.]; Papir [mix.]

label: Stickman Records - nationality: Denmark

Tracklist: 1. "VI.I" - 2. "VI.II" - 3. "VI.III" - 4. "VI.IV"

6th studio album by Papir following two years after V is like that recorded by Lars Lundholm and released on Stickman. The trio remains unchanged with guitarist Niklas Sørensen, bassist Christian Clausen, and drummer Christoffer Christensen.

VI are four untitled tracks with a total running time at just under 40 mins. and stylewise, Papir explores their new-found original blend of post-rock, space rock and prog rock with hints of this and that but still held together on their own musical path.

VI also continue a new fine level demonstrating individual qualities as well as insight in musical realisation. My only 'complaint' is the end-track, which to me sounds like something they composed earlier with too much improvisation and too much unorganised space rock, whereas the first three all appear more contemporary and better arranged. That said, this new distillation is still more than a worthwhile listen.

Small recommendation.

[ bandcamp ]

[ Musikreviews.de 13 / 15, SputnikMusik 3,7 / 5 stars ]

Papir "IIII" (2014)

IIII

release date: Feb. 11, 2014

format: digital (4 x File, FLAC - Impetus Series 09)

[album rate: 3 / 5] [3,22]

producer: Jonas Munk [recorded by]

label: El Paraiso Records - nationality: Denmark

Tracklist: 1. "IIII.I" - 2. "IIII.II" - 3. "IIII.III" - 4. "IIII.IIII"

4th studio album by Papir following one year after III seems like the continued series of instrumental space rock, prog rock, and post-rock releases on El Paraiso, again with recording engineer Jonas Munk and with artwork by Jakob Skjøtt.

Even the album title and the track titles differ little from the 2013 album giving a minimalist variation, and you could argue that also the soundscape remains intact with little progression from the two previous albums. In fact, the Papir has played more or less the same instrumental and experimental prog rock founded on 70s krautrock and progressive psychedelic rock and then to some extent: more contemporary post-rock influences. "IIII.I" appear as a strong post-rock compositions, whereas the following tracks repeat the pattern from the 2013 album by being more like jam session-oriented. The final track "IIII.IIII" does, however, again point to a more original melodic universe. The album is in every detail a close new chapter in an ongoing journey that could use some more variation. That said, I still find this band of skilled instrumentalists a rather fascinating acquaintance.

[ bandcamp ]

Papir "III" (2013)

III

release date: Feb. 11, 2013

format: digital (5 x File, FLAC - Impetus Series 07)

[album rate: 3 / 5] [3,18]

producer: Jonas Munk

label: El Paraiso Records - nationality: Denmark

Tracklist: 1. "III.I" - 2. "III.II" - 3. "III.III" - 4. "III.IIII" - 5. "III.IIIII"

3rd studio album from Danish space rock instrumentalists Papir is like the predecessor Stundum (Nov. 2011) released on El Paraiso and produced by Jonas Munk and comes with artwork by Jakob Skjøtt.

III is much like a new chapter in a predictable sequel of instrumental space rock with prog rock and krautrock elements as well as more modern post-rock traits. The album feature five compositions of varied length running from 4:55 mins. (track #3) to 15:21 (track #5) with a total of just under 44 mins.

The first two tracks both have a stronger post-rock touch, appearing as the most interesting music, whereas the three following compositions tend to feel like studio improvs of more unfocused space rock.

The band still still evolves, at times you hear an unmistable influence from Hendrix but mostly it's out-of-space prog rock. I rate this one a little better than their previous effort, and what I fundamentally find is better here is the instrumentation. Guitarist Niklas Sørensen has grown and simply demonstrates a Hendrix-fascination that never goes too close to the original, and also bassist Christian Clausen and drummer Christoffer Brøchmann goes nicely hand in hand with their flawless rhythm-section.

[ bandcamp ]

Papir "Stundom" (2011)

Stundom

release date: Nov. 28, 2011

format: digital (6 x File, FLAC - Impetus Series 03)

[album rate: 3 / 5] [3,12]

producer: Jonas Munk

label: El Paraiso Records - nationality: Denmark

Tracklist: 1. "Sunday #1" - 2. "Saturday" - 3. "Monday" - 4. "Sunday #2" - 5. "Tuesday #1" - 6. "Tuesday #2"

2nd studio album by Danish instrumental rock-trio Papir is produced by Jonas Munk from the (Danish) band Causa Sui (the artwork is by Jakob Skøtt, drummer of Causa Sui), and the album is released by the label founded by Munk and Skøtt: El Paraiso. Stundum is the follow-up to the one year old debut, and 'stundum' is arcaic Danish corresponding 'occasionally', and all tracks have titles after weekdays. Where the 2010 album contained four tracks and had a total running time just above 30 mins, this one comes with six tracks and a total running time almost touching 80 mins.

Where the debut basically was experimental krautrock, I would argue that this second attempt has a much more apparrent experimental post-rock feel on top of the prog rock foundation, which in my mind makes it a bit more interesting. At times it becomes too jam-oriented - the style takes a fusion rock turn, probably due to studio improvs, but nevertheless, some parts tend to sound like free-associations, and then a new theme is picked up and a forward movement is taking place. It's difficult to sum up, but it's like a fascinating trip, and all you have to do, is to go along, let it unfold and see if it takes you somewhere. Overall, I think it's bettering the debut - only, I wish they would be more focused.

[ bandcamp ]

Papir "Papir" (2010)

Papir [debut]

release date: Dec. 1, 2010

format: digital (5 x File, FLAC)

[album rate: 3 / 5] [2,92]

producer: Troels Bech [masterered by]

label: self-released - nationality: Denmark

Tracklist: 1. "Kurl Te Pow Ralise" - 2. "Lykk Trep-R Hi-Losé" - 3. "Une Frensal N-Erit" - 4. "Rogter Sot Oe Koft"

Studio album debut by Danish space rock and prog rock trio Papir consisting of guitarist Nicklas Sørensen, bassist Christian Becher Clausen, and drummer Christoffer Brøchmann Christensen. The band was founded in Gladsaxe, Copenhagen around 2008. The album consists of four instrumental pieces, and it was originally released on vinyl by independent label Red Tape, and later made available as downloadable via the band's bandcamp profile. The album mentions no producer credits, but Troels Bech is credited mastering and the band is credited mixing.

Stylewise and musically, the band explores experimental progressive rock with bonds to 1970s krautrock and German prog rock band Can in particular.

The album is not an immediate favourite but it definitely isn't without talent. There's both something disturbing, something fascinating, and a great deal of originality to these four compositions.

Mike Oldfield "The Complete" (1985)

The Complete (compilation)
release date: Oct. 1, 1985
format: 2 lp vinyl (gatefold - 302 689-503) / cd (1988 reissue)
[album rate: 4 / 5]
producer: various
label: Virgin Records - nationality: England, UK

Compilation album by Mike Oldfield released as a double gatefold vinyl album. The album is subdivided into four sections - the A-side is labelled 'The Instrumental Side', the B-side 'The Vocal Side', the C-side 'The Complex Side', and the D-side 'The Live Side'.

Peter Gabriel "Peter Gabriel" (2) (1978)

Peter Gabriel (2)

release date: Jun. 3, 1978

format: digital (2007 remaster)

[album rate: 3,5 / 5] [3,42]

producer: Robert Fripp

label: Virgin / Charisma / Real World - nationality: England, UK

Track highlights: 1. "On the Air" (live '78) - 2. "D.I.Y." - 3. "Mother of Violence" - 7. "Animal Magic" - 10. "Perspective" - 11. "Home Sweet Home"

2nd studio album by Peter Gabriel following his like-wise self-titled '77 debut album has Robert Fripp in the producer seat. All 11 compositions are credited Gabriel, of which two are made as collaborative works. Track #3 is co-written by Gabriel's wife Jill Gabriel and track #8 is co-composed by Robert Fripp, who is also credited on guitar (and 'Frippertronics'), as was the case on Gabriel's debut. Also American guitarist Sid McGinnis is credited on an album with two other re-appearing artists: bassist Tony Levin and keyboardist Larry Fast. Then also Springsteen (E-Street Band) stable keyboardist Roy Bittan contributes, and the album feature drummer Jerry Marotta as part of the backing band for his first of many albums for Gabriel. Some issues were titled "Peter Gabriel II", or simply "2" (especially 2002-issues), and it's often referred to as 'Scratch' with reference to the cover.

Like his 77-album this is another chapter in progressive rock / art rock territory with influences from typical contemporary glam rock (as embodied in Lou Reed, David Bowie, Roxy Music), and it does sound somewhat like leftovers from his fine debut, ultimately making it less interesting but also taking a position as the typical difficult sophomore follow-up, simply by being a more inconsistent collection of songs, where especially the first three compositions make promises of something better.

[ allmusic.com, Q Magazine 4 / 5, Uncut 3,5 / 5, Rolling Stone Album Guide 3 / 5 stars ]

Peter Gabriel "Peter Gabriel" (1) (1977)

Peter Gabriel (1) [debut]

release date: Feb. 10, 1977

format: cd (2003 remaster)

[album rate: 3,5 / 5] [3,68]

producer: Bob Ezrin

label: Virgin Japan / Real World - nationality: England, UK

Track highlights: 1. "Moribund the Burgermeister" (live) - 2. "Solsbury Hill" (4 / 5) (official video) (live montage) - 3. "Modern Love" (official video) - 6. "Slowburn" - 8. "Down the Dolce Vita" - 9. "Here Comes the Flood"

Studio solo album debut by Peter Gabriel released two years after leaving the succesful British prog rock band Genesis is Gabriel's first of four consecutive studio albums with identical titles - all of which originally released on Charisma Records. The album is commonly referred to as "Peter Gabriel 1" / "Peter Gabriel I"or simply: 'Car' with reference to the front cover. Gabriel has gathered up a list of fine backing musicians for the album, including guitarist Robert Fripp (of King Crimson), and a list of American musicians: guitarist Steve Hunter, session bassist Tony Levin, keyboardist Larry Fast, drummer Allan Schwartzberg and percussionist Jimmy Maelen. Fripp would re-join Gabriel on his two following studio releases, Fast on the next three albums, and Tony Levin would be a stable musician on all of Gabriel's future albums.

Stilistically, Gabriel is still working in the style of prog rock but has turned his back on the longer progressive part of the music and turned to a combo of Lou Reed / David Bowie / Brian Eno / Roxy Music-type of glam rock and art rock using both guitars and synths.

It's an album that refers to and builds on the established traditions of popular music, instead of embracing elements from the punk rock invironment, but it's still a mighty fine release taking rock to new grounds. The album is the first of three Peter Gabriel albums to be included in "1001 Albums You Must Hear Before You Die".

[ allmusic.com 4,5 / 5, Record Mirror 4 / 5, Uncut 3,5 / 5, Q Magazine 3 / 5 stars ]

Uriah Heep "Look at Yourself" (1971)

Look at Yourself
release date: Oct. 1971
format: digital
[album rate: 2,5 / 5]
producer: Gerry Bron
label: Bronze Records - nationality: England, UK

Track highlights: 1. "Look at Yourself" (3,5 / 5) - 3. "July Morning" (3 / 5) - 4. "Tears in My Eyes"

3rd studio album by London-based band Uriah Heep. The album didn't attract much attention at the time of release and later albums fared considerably better, however, Look at Yourself is considered one of the band's best efforts and one of the genre's most prolific albums. I find it of little interest. It's one of many albums from that time when everyone (especially) from Britain made progressive music of some sort. There's hard rock like heard (better) in Deep Purple and Led Zeppelin, and there're elements of psychedelic rock as one will find in Pink Floyd and early Black Sabbath. The title track and "Tears in My Eyes" both have a fine "sonic" feel of energy to it, blending electric and acoustic guitars, but apart from that there's simply too much jam session and unstructured Hammond organ fusion rock about it to my liking.
[ allmusic.com 4 / 5 stars ]

Supertramp "The Very Best of Supertramp" (1990)

The Very Best of Supertramp (compilation)
release date: Jun. 3, 1990
format: digital
[album rate: 3 / 5]
producer: various
label: A&M Records - nationality: England, UK

Compilation album by Supertramp comprising mostly the band's most commercially successful albums with just one track originating from Crisis? What Crisis?, one from "'Famous Last Words', and one from their '85 album without Hodgson Brother Where You Bound, two from Even in the Quietest Moments..., but then four tracks have found it's way to this from Breakfast in America and six (!) from Crime of the Century, which makes it a best of album consisting of 2 /3 of the songs originating from only two albums, which I think is near ridiculous. Yes, it's a compilation, and although Supertramp isn't one of my favourite acts, I really miss more songs - also from my personal favourite.
[ allmusic.com 4,5 / 5 stars ]

Supertramp "Even in the Quietest Moments..." (1977)

Even tn the Quietest Moments...
release date: Apr. 1977
format: digital
[album rate: 3 / 5] [3,12]
producer: Supertramp
label: A&M Records - nationality: England, UK

Track highlights: 1. "Give a Little Bit" (4 / 5) - 3. "Even in the Quietest Moments" - 4. "Downstream" - 6. "From Now On" - 7. "Fool's Overture"

5th studio album by Supertramp. Two years under its way the album shows the band's move into more mainstream territory. The album is, like its front cover suggests, also piano-founded music. It's soft rock more than anything and it's also fine songwriting, although, I also find it a bit on the dull side.
[ allmusic.com 3,5 stars ]

Supertramp "Crisis? What Crisis?" (1975)

Crisis? What Crisis?
release date: Sep.14, 1975
format: vinyl (1977 reissue) / digital
[album rate: 3,5 / 5] [3,65]
producer: Ken Scott, Supertramp
label: A&M Records - nationality: England, UK

Tracklist: A) 1. "Easy Does It" - 2. "Sister Moonshine" (4,5 / 5) - 3. "Ain't Nobody But Me" (3 / 5) - 4. "A Soapbox Opera" (4 / 5) - 5. "Another Man's Woman" (3 / 5) - - B) 1. "Lady" (4 / 5) - 2. "Poor Boy" - 3. "Just a Normal Day" - 4. "The Meaning" (4 / 5) - 5. "Two of Us"

4th studio album by Supertramp. Like the successful Crime of the Century (Nov. 1974) the album is co-produced by Ken Scott. It's the first album I ever heard with the band. I used to borrow the album from my older brother, and really liked it a lot. Eventually, he gave me the album when he moved out of our family house back in '78. I still consider the album the band's best. It's right there on the verge of progressive rock art pop and the more cheesy and standardised pop they made later on, and I like it more than its more famous predecessor because it's a move away from bluesy American r&b soft rock to a more simplified European art pop.
[ allmusic.com 3 / 5 stars ]

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

10cc "How Dare You!" (1976)

How Dare You!
release date: Jan. 24, 1976
format: digital
[album rate: 2,5 / 5]

Track highlights: 4. "I'm Mandy Fly Me" (2,5 / 5) - 6. "Art for Art's Sake" - 8. "Head Room" (2,5 / 5)

4th studio album by 10cc released on Mercury Records and produced by the band. The only track I really enjoy on the album is the classic "Arts for Art's Sake" - the rest is not my taste, and actually, I'm closer at handing it only 2 stars as one good track out of 9 is poor. I think, the band could possibly release a decent best of album, as they have always been able to come up with one fine composition every now and then. Tensions within the band between the two songwriter duos Kevin Godley and Lol Creme on one hand and Eric Stewart and Graham Gouldman on the other, led to Godley and Creme's decision to leave the band after this release.
[ allmusic.com 4 / 5 stars ]

10cc "The Original Soundtrack" (1975)

The Original Soundtrack
release date: Feb. 1975
format: digital
[album rate: 2,5 / 5]

Track highlights: 2. "I'm Not in Love" (4 / 5) - 4. "The Second Sitting for the Last Supper" (2,5 / 5)

3rd studio album by 10cc released on Mercury Records and produced by the band. I think the best thing about the album is the cover art designed by Hypgnosis, an art group that fronted many album covers in the 1970s and especially bands and artists of art pop, experimental, and progressive rock. The music is rather theatrical, but just boring with its fusion of rock opera, jazz elements and tedious arrangements. Yes, the album contains the 1970s great classic "I'm Not in Love", which really only seems misplaced here as no other song on the album comes close to that. Other than that the band was famous for having the composer duo Godley and Cream in its earliest and original line-up. Kevin Godley was the band's percussionist, drummer, (and lead) vocalist and songwriter, and Lol Creme was multi-instrumentalist, (backing) vocalist, and composer, and together they became famous as Godley & Creme, a successful producer- / composer- / video director-duo for lots of artists in the early 1980s. However. the classic track "I'm Not in Love" was written and composed by Etic Stewart and Graham Gouldman - the other two of the band.
[ allmusic.com 4,5 / 5 stars ]

Supertramp "Crime of the Century" (1974)

Crime of the Century
release date: Nov. 1974
format: digital
[album rate: 3,5 / 5] [3,29]
producer: Ken Scott, Supertramp
label: A&M Records - nationality: England, UK

Track highlights: 2. "Bloody Well Right" - 4. "Asylum" - 5. "Dreamer" (4 / 5) (live) - 8. "Crime of the Century"

3rd studio album by Supertramp. The album is the first to be co-produced by Ken Scott. It's also known as the band's breakthrough album. Musically, it's no longer a fusion of various styles with single tracks having various inspirational sources, so one track may be inspired by this and another by something completely different. The band obviously still has taken inspiration from many sources, which gave them an undefinable sound on the two previous albums, but here, Scott and the band keeps things together and pins out a style of their own with equal parts of r&b, jazz rock and progressive rock, resulting in art rock and soft rock. The album is enlisted in many best-of-lists compiling the best pop / rock albums of all time. It's the only Supertramp album to figure in "1001 Albums You Must Hear Before You Die".
[ allmusic.com, Sputnikmusic 4 / 5 stars ]

Supertramp "Indelibly Stamped" (1971)

Indelibly Stamped
release date: Jun. 1971
format: digital
[album rate: 2,5 / 5]
producer: Supertramp
label: A&M Records - nationality: England, UK

2nd studio album by Supertramp. The album is less fusion-oriented and more r&b-founded, but the result is really not much better than the debut. I think, many would find it more rockin'. I just don't like the soft rock tone. It's probably more american than the debut, but they play well, and it's more straight forward than the poor debut.
[ allmusic.com 2 / 5 stars ]

Supertramp "Supertramp" (1970)

Supertramp [debut]
release date: Jul. 14, 1970
format: digital
[album rate: 2 / 5]
producer: Supertramp
label: A&M Records - nationality: England, UK

Track highlights: 4. "Words Unspoken" (3 / 5)

Studio debut album by Supertramp. I have only come across the album in recent years, and really cannot see anything of interest in the album. The style is piano-founded pop / rock or soft rock with too much fusion. I have really never enjoyed a fusion of jazz and pop / rock much and this is for its time a typical blend with Hammond organ and various vocal harmonies blended with bold use of percussion, horns and elements from classical compositions, but in my ears, without much success or clear direction. It's a jam session of harmonic arrangements. At best, it's supermarket muzak.
[ allmusic.com 2 / 5 stars ]

Genesis "The Lamb Lies Down on Broadway" (1974)

The Lamb Lies Down on Broadway

release date: Nov. 18, 1974

format: 2 cd (2014 remaster)

[album rate: 4 / 5] [3,82]

producer: John Burns & Genesis

label: Virgin Records - nationality: England, UK

Track highlights, Disc 1: 1. "The Lamb Lies Down on Broadway" (Gabriel live '78) - 2. "Fly on a Windshield" - 3. "Broadway Melody of 1974" - 5. "In the Cage" - 7. "Back in N. Y. C." - 9. "Counting Out Time" - 10. "Carpet Crawlers" (4 / 5) - - Disc 2: 3. "Anyway" - 5. "The Lamia" - 9. "The Light Dies Down on Broadway" - 10. "Riding the Scree"

6th studio album by Genesis following one year after Selling England by the Pound is the band's last album to feature vocalist Peter Gabriel. The album is like the predecessor produced in a collaboration by John Burns and Genesis (Burns is also credited as sound engineer on Foxtrot, 1972), and it's originally released as a double vinyl album on Charisma Records consisting of 23 tracks with a total playing time above 1 hour and 34 minutes. The album is a conceptual album with Gabriel's story of a young Puerto Rican entering the capitalist centre of New York, and it's also known for the partecipation of Brian Eno on two compositions (#5 and #6). As with the bands previous two albums all songs are credited all five band members: Peter Gabriel (vocals, flute, varied instruments), Steve Hackett (guitars), Mike Rutherford (bass, 12-string guitar), Tony Banks (organ, keyboards, synths) and Phil Collins (drums, percussion, lead vocals on #9, #15, #18); although, in reality all but Gabriel worked on the music and Gabriel insisted on writing all lyrics with the result that vocals were put down (in another studio) after the music had been composed.

Musically, it's still very much 'prog rock' with experimental traits and with the most promissing songs on the first part - the vinyl A- and B-sides and Disc 1 for cd issues - and most of the more experimental stuff on the second half.

The album was released to mixed reviews but has gained status over the years as perhaps the bands absolute best. It peaked as number #10 on the British albums chart list and at number #41 on the US Billboard 200. Two songs were selected for single releases: "Counting Out Time" preceeding the album on Nov. 1st, and track #10 released as "The Carpet Crawlers" Apr. '75, making it to number #53 and #54 respectively on the British singles chart list. The latter was re-recorded in '95 and released i '99 with Collins and Gabriel sharing lead vocals as "The Carpet Crawlers 99". The album is the second consecutive album by Genesis to be enlisted in "1001 Albums You Must Hear Before You Die".

The Lamb Lies Down on Broadway may be an overblown conceptual idea with lots of progressive rock tracks, and perhaps with a little too much music, but as a statement of the band's musical cleverness and Gabriel's narrating skills it's simply Genesis at its artistic peak. During the following tour Gabriel announced his parting with the band, which saw him pursue a great solo career, and Genesis began another music chapter with Collins as lead vocalist and better charting albums, although, the band in terms of originality and quality never again performed at this level. Although, it wasn't the first album I came accross by this band, it's nonetheless the absolute best by Genesis, imho.

Highly recommended.

[ allmusic.com 5 / 5, Rolling Stone Album Guide 4 / 5 stars ]

Genesis "Selling England by the Pound" (1973)

Selling England by the Pound

release date: Oct. 13, 1973

format: cd (1986 reissue)

[album rate: 3,5 / 5] [3,68]

producer: John Burns & Genesis

label: Virgin / Charisma - nationality: England, UK

Track highlights: 2. "I Know What I Like (In Your Wardrobe)" (live) - 3. "Firth of Fifth" - 5. "The Battle of Epping Forest" - 7. "The Cinema Show"

5th studio album by Genesis following one year after Foxtrot and only two months after the band's first live album Genesis Live. Co-producer John Burns had worked as sound engineer on the '72-album and would also produce the band's follow-up album The Lamb Lies Down on Broadway (1975). The band remains the stable quintet of vocalist Peter Gabriel, guitarist Steve Hackett, bassist Mike Rutherford, keyboardist Tony Banks and drummer Phil Collins, and although, Gabriel wrote all lyrics, all five are credited the album's eight tracks, which has a total playing time at just under 54 minutes.

Musically, it's first and foremost a prog rock album with an overall theme reflecting on old nostalgic England in a contemporary modern era of economic and social crisis.

The album was met by positive reviews and became the band's first top-3 charting album, and retrospect reviews has put the album near the very top on lists of the best prog rock albums ever. It's also the band's first of only two albums to be included in "1001 Albums You Must Hear Before You Die".

Together with the successor, The Lamb Lies Down on Broadway, this represents the most daring and artistic original version of the band Genesis.

Recommended.

[ allmusic.com 5 / 5, Q Magazine 4 / 5 stars ]

Jethro Tull "Stormwatch" (1979)

Stormwatch
release date: Sep. 14, 1979
format: digital
[album rate: 2,5 / 5] [2,60]
producer: Ian Anderson, Robin Black
label: Chrysalis Records - nationality: England, UK

Track highlights:1. "North Sea Oil" (3,5 / 5) - 2. "Orion" (3 / 5) - 3. "Home" (3,5 / 5) - 4. "Dark Ages" (3 / 5) - 7. "Old Ghosts" (3 / 5)

12th studio album by Jethro Tull is also known as the final album in a trilogy starting with Songs From the Woods (1977) with focus on folk rock in a celtic folklore frame. The album may very likely have strong bonds to the '77 and '78 albums, but I never found it any near the same level, and / or of much interest. I think, time simply caught up with a band that didn't fit in anymore, and just enjoyed playing big live concerts repeating itself, and here, band leader and composer Anderson hasn't been able to come up with his usual strong compositions. The album is the last with the band's most celebrated members list including Ian Anderson, Martin Barre, John Evan, David Palmer, John Glascock, and Barriemore Barlow. After this album only Anderson and Barre would continue Jethro Tull with new band members. The band's bassist John Glascock wasn't able to contribute on all studio recordings due to heart problems, and was replaced on a successive US tour, and eventually died in Nov. '79. The untimely death of the band's bassist led to drummer Barriemore Barlow's departure from the band in early 1980, and as a consequence of Anderson's announced plans to record a solo album, both David Palmer and John Evan decided to leave. After this, Anderson worked on and recorded his first solo album but due to contractual obligations the album was released as a Jethro Tull album titled A (1980) for "Anderson", with a very different kind of music in a synth pop style, which is of even less interest.
[ allmusic.com 2 / 5 stars ]