MINSTREL IN THE GALLERY

Even with the lack of flute, this is still an example of Jethro Tull at their best. I got this album as a Christmas gift, and even though I knew a couple of tracks, I did not expect to be incarcerated by such a grand set of songs. Each one brings me to a mellow state, all while demonstrating Jethro Tull's abilities as musicians. The greatest asset to this album is Ian Anderson's voice and the vocal melodies he sings. Certainly some of the songs are straightforward folk songs, with simple acoustic guitar and basic melodies, but they are still only an asset to this remarkable record. Also, if one can nab a copy with the bonus tracks, one should do so.

"Minstrel in the Gallery" One of my favorite Jethro Tull songs, I delight in the spoken word before the actual piece suggesting a present audience (which manifests itself in the drunk-sounding singing-along also). This song contains one of the most amazing vocal melodies ever written, not to mention the usual charming lyrics. The electric guitar work is stupendous, with crunchy chords and ragged runs. The instrumental section, laden with electric guitar and cowbell and bass as it is, would be at home in the heavy progressive rock subgenre. I also appreciate how Anderson sings the same lyrics over different melodies. It's an amazing track, and I'm glad to be one of the "smiling faces" looked down upon.

"Cold Wind to Valhalla" One of the few tracks to feature flute, the second one has powerful guitar and drumming, not to mention the constant on this album- amazing vocal melodies and insightful lyrics. The bass also stands out more so than on other tracks.

"Black Satin Dancer" With powerful piano, prominent strings, and yet another excellent vocal melody, the listener is in for a treat. Martin Barre delivers a potent guitar solo, before the music flutters away to the same chords and Anderson on his most present flute performance on the album. The respite of the piano and Anderson's voice at the end is a brief one, but the orchestra takes advantage of an opportunity to shine.

"Requiem" Acoustic guitar and Anderson's peaceful voice, accompanied by a subtle bass and string section, make up a wonderful portion of the album. Anderson's voice somehow has a strong tremolo applied to some of his words, which only adds to the atmosphere. Despite it's brevity, this is one of my favorite tracks on the album. This is as lovely as it gets.

"One White Duck/0^10 = Nothing At All" Another folksy number, full of vocal tremolo, greets the listener here. This is really a two-part track though: The first half is a more subdued song, with yet another magnificent melody, but the second half is harder, even though the acoustic guitar is still the dominant instrument. And, as usual, the vocal melody is nothing less than outstanding, and the words make for excellent poetry.

"Baker St. Muse" Opening with an expletive-laden "first take," the epic of the album features some smooth guitar playing before Anderson starts singing over the piano and orchestra. And, as is the case, the vocal melody carries the track all the way through. This song has one of the most interesting arrangements ever, and I am always blown away by how the different parts are put together. Martin Barre's electric guitar playing is absolutely phenomenal on this one. As is usual, the acoustic guitar plays a major role on this song. This is simply one of those compositions that belongs on the same echelon as the touted and (sometimes despised, as in the case of the latter) "Thick as a Brick" or "A Passion Play."

"Grace" Very similar to previous acoustic-driven pieces, this has Anderson employing that heavy tremolo on his voice. This song lasts less than thirty-four seconds, despite the track time.