ROOTS TO BRANCHES

This 1995 release from Jethro Tull is a very consistent album- almost too consistent. There is very little variety to distinguish each song, but they are for the most part all very good. The production is crisp, and the compositions are mostly kept to minor keys. For those interested in short but rather sophisticated arrangements with a clean modern production, this might just be Jethro Tull album for them.

"Roots to Branches" A slightly menacing riff with some great flute is a great start for this record. Ian Anderson's voice sounds very mature. The rhythm changes and shifts in music are a great touch, adding variety to an already strong song. Anderson goes solo on his flute at the very end.

"Rare and Precious Chain" The second track has a slight Middle Eastern flavor, and maintains the somewhat darker quality of the previous song. While it doesn't exactly rock, it does keep a heavy beat.

"Out of the Noise" A lighter track with clean guitar and flute and bass working alongside each other introduce one of the more interesting tracks. The bubbly keyboard work is a pleasing aspect, even as it doesn't exactly fit the rest of the music.

"This Free Will" Crunchy guitar riffs with somewhat exotic instrumentation paint an enjoyable backdrop for the aged voice of Anderson to work over. For the most part, it's a straightforward song that fits in with the rest of the music on this record.

"Valley" Solo flute dances in between blasts of quick chords from the rest of the band. A majestic acoustic guitar enters, and the first time I heard this song, I knew I would like it. Martin Barre jumps in between clean and dirty guitar parts, and shows quite a bit of creativity in his role.

"Dangerous Veils" A heavy song full of flute and crunchy guitar, this is a rather bland song during the verses, but Barre's guitar work alongside Andy Giddings's organ and piano, not to mention the jazzy movements of the bass, means that this song contains one of the more interesting instrumental bits, which Anderson concludes with a lofty flute performance. Barre finishes the songs with one more biting guitar solo.

"Beside Myself" Peaceful acoustic guitar starts this lovely track, which also features beautiful piano and flute work. It's an okay song, but bland and not very memorable.

"Wounded, Old and Treacherous" The intriguing keyboards and snare work, not to mention the bass, give the introduction to this song the sound of sophisticated video game music- it almost sounds like level music for one of the more recent Mega Man games (no complaints from me- Mega Man music is quite good, actually). I honestly felt this song would have been much better if Anderson hadn't have turned this into a goofy lounge jazz song; the introduction should have been expanded upon and made into an instrumental, and then this track would have been amazing.

"At Last, Forever" Soft music introduces this second lengthier number. Given the acoustic guitar, the strings, and the melody, this pleasing song sounds like it could have almost belonged on the great album Minstrel in the Gallery. The heavier moments are likewise excellent, so this is one of the best songs on the album.

"Stuck in the August Rain" Things go from amazing to sappy with this, which sounds like that generic "relaxation" music found in stores like Target, which has a kiosk where one can sample each CD. While pleasant, this is not one of the better songs here. Not even Barre's occasional screaming guitar can salvage it.

"Another Harry's Bar" The first time I heard this, I honestly thought it was Dire Straits I was hearing. I have no complaints with that.