Jethro Tull: Songs From The Wood - 1977

 

Jethro Tull changed their style quite a few times during the seventies and, at the height of punk, they released this lovely album of authentic English folk-rock, to considerable success. 

Ian Anderson is pictured on the cover as a woodsman tending his fire and the whole album is bucolic in ambience, dominated by Anderson's rustic flute. I love it. That is not surprising as I love traditional British folk rock. 

Songs From The Wood begins with Steeleye Span-Fairport Convention a capella rural English vocal introduction before it bursts out into a thumping piece of flute and drums-powered piece of vibrant folk rock. Forget their mid-seventies lengthy prog rock excursions for a minute, in many ways, this is exactly what I feel Jethro Tull should be. Check out Ian Anderson's superb flautism (is that a word?) on this. The melody here is almost Elizabethan. 

More archetypal Tull can be heard on the acoustic-bass-flute Tull-folk melody of Jack-In-The-Green and Cup Of Wonder is more full on rock but still retaining its folky, Steeleye Span-esque feel. The piano-driven bit is excellent then we get another outstanding flute solo, backed by poppy handclaps and Anderson sounding positively rejuvenated. It has another glorious bass line too.

Hunting Girl is a marvellous piece of grandiose prog-rock-folk, full of pounding drums, swirling, madcap organ, great guitar riffs the obligatory flute and an energetic, slightly crazed vocal. 

Ring Out, Solstice Bells is played every Christmas in our house and has been well-loved for years, so I find it nigh on impossible to play it at any other time of year, so I won't. Needless to say, though, the song is quirkily magnificent. 

The epic Velvet Green continues in the same folky vein, with that Tudor/Elizabethan feel being present again. I bet Henry VIII would have loved this, particularly the extended instrumental middle section. The Whistler has a mysterious melody to it, darker than previous songs. The vocals are very Steeleye Span in their harmonies. It breaks out into very Span-like jigging parts too. 

Pibroch (Cap In Hand) is the album's big production number and the heaviest rock track present, featuring some immense riffage. Electric folk rock to the max. It doesn't get much better than this. Verily. 

Fire At Midnight is a quiet, reflective drum and flute lament to end this most enjoyable on. I can't praise this album highly enough so I will stop before I get boring. Beltane is a muscular riffy rocker that didn't make the cut. It wouldn't have been out of place. 

Overall, this was Jethro Tull at their folk-rock best. Forget prog, this was pretty much full-on electric folk  and an excellent album it is too. One of their best, but actually quite unique in their canon.

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