Jethro Tull: War Child - 1974

 

After two innovative proggy concept albums, Jethro Tull returned nearly eighteen months after the controversial and indulgent A Passion Play with this comparative return to a more traditional rock song format. Many would say not before time, either. Gone were the side long proggy suites, replaced by more conventional, shorter rock songs. The production leant heavily on strings, rather like The Electric Light Orchestra, too. 

This was an odd time for one-time prog rock darlings, 1974, the initial fascination with prog had gone and punk was still a few years away. Avant-garde art rock groups like Roxy Music and Cockney Rebel were becoming popular, along with the afore-mentioned ELO so Ian Anderson touched on this with this album, although it didn't become as popular as those artists' work. Tull were becoming old hat, fast, despite their loyal army of long-time fans. That said, there is still some copper-bottomed rock to be found on here as well as some at times gentle and beautiful folkiness. Tull were always a mix of the two.

After a slow build up with some war sound effects, some rolling drums, searing guitar and Roxy Music saxophone enhance the excellent thump of War Child. If it wasn’t for Ian Anderson’s distinctive voice, there would be  something very Bowie-esque about this, like something from the same year’s Diamond Dogs album.

Queen And Country has an accordion giving it a continental ambience over its solid rock punch. This is definitely a track that exemplifies the change from the long suites of the previous two offerings. I can’t get enough of the incisive guitar interjections on this one as well. 

Ladies turns to the acoustic guitar and flute for its inspiration, as well as a beautiful gently rumbling bass and some more if that Roxy-ish saxophone, an instrument not used too much by Tull, before or subsequently. For its final half minute, the song really rocks, strangely. 

Back-Door Angels is more of a classic piece of Tull, in the vein of some of the material on benefit or aqualung. Once more, the instrumentation on here is simply outstanding, and the sound quality too - warm, deep and powerful. Check out that Deep Purple-ish organ/guitar/drum part in the middle - it bloody well rocks. Sealion is a Black Sabbath-influenced rocker enhanced by dome excellent violin. 

Skating Away On The Thin Ice Of The New Day is a winning mix of acoustic balladry, powerful rock and sixties-style psychedelic percussion. It is also appealingly rhythmic in the middle, when Anderson’s flutery sounds like Van Morrison.

Bungle In The Jungle is a muscular serving of proggy rock, with a catchy chorus. Only Solitaire is a bit of messing around that merges into the upbeat folky groove of the Steeleye Span-esque The Third Hoorah. To surprise us all, bagpipes are introduced for the middle bit. 

The album closes in stately acoustic/electric on the impressive Two Fingers. 

If I had heard this in 1974 I would have loved it, but unfortunately I had not allowed Tull into my world yet.