HEAVY HORSES

Often times I find that the better the music, the less I have to say about it. Since my Jethro Tull reviewing order finally approaches the very best material, this one shouldn't take long. Perhaps it's fitting, as Heavy Horses itself is very tight and compact, and the word "filler" simply don't apply this time.

Jethro Tull continues that astonishing return to form that started with Songs from the Wood. Yes, we're still deep down the folksy rabbit hole, Ian still enjoys the charm of country life, and both songwriting and the execution blow me away. The mixture of diverse musical influences, urban refuge pleasantries and friendly atmosphere between bandmates must've been responsible for this pastoral gem. What else could explain a 40+ minutes of cottage rock, tweed-clad photoshoots and rustic lyricism in times of disco, new wave and heavy metal rearing its fangy head? It takes a special artist to go against the grain - second time in a row actually - and do it with confidence and joy we witnessed here.

If I were to write down a few bullet points, boldness would be at top of my list. Thumping rhythm section, rich tapestries of acoustic guitars, mandolins wreaking havoc - as silly as it sounds - are all perfectly arranged and played with impeccable technique and true conviction. There is no place for second guessing or hesitation ("is this lick going to work?" or "do we really have to sing about livestock?"). Many have pointed out that Songs and Horses are really two sides of a coin, the former embedded in mythology and medievalisms, the latter - invoking more common yet rustic topics, such as afternoon teas, cats chasing mice or love in the haystack.

Ian Anderson went full wood bucolic on Heavy Horses, delivering raspy but resonant vocals throughout the album. In terms of vocal performance, it easily ranks among his best - more mature than Aqualung era, but not tired and worn yet - "seasoned" would be a good term here. And I believe it takes some cojones to go out on a stage and sing about weathercocks with this much emotion. So even if Ian didn't really have a clue about plowing, sowing or growing, he sure as hell made me believe that Heavy Horses were recorded with rolled up sleeves and palms still sweaty from harvest.

It's very important that the author himself strikes me as true. Just take a look at title track and its lyrics, how he wishes for Clydesdale horses to grace English countryside again, how he regrets that old and proud breeds quickly becomes a thing of past day and age. His words border on poetry, and vocal performance leaves me touched and nostalgic without exception. He'd never succeed at this task, none of us would ever be moved, if it was just an exercise in folk songwriting, empty of meaning and vain.

There is a place for joy, there is a place for love, and surely there is a place for reflection on this picturesque record. I have my absolute favorites, but really all songs get the job done and hiccups are rare. "Acres Wild" and "Rover" are masterpieces of tightly strummed, lively melodies. "No Lullaby" and "Weathercock" work perfectly as your refuge and healing salve after another day in post-truth reality. We also have "One Brown Mouse" and "Moths", tunes so rich in emotion and flavor that I have yet to find a harsh critic. And that title song, really a magnum opus and centrepiece of entire record, that could very well be the best thing conceived in 1978 AD, worldwide.

This, along with superb Songs from the Wood, are the real reasons why I respect Jethro Tull so much. Dozens of prog rock artists reached lofty heights once or twice. But to come back with this much bang and clarity of vision, back-to-back, in the late 70s? Impossible! And yet, it happened.

Don't waste your time, get it, and enjoy with people you care for.

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