THE BROADSWORD AND THE BEAST

Overcoming the occasional clumsiness of 'A', Jethro Tull moved on with their zealous exploration of electronic sounds interwoven into the folk-pomp that the band is generally known for, and their 1982 release 'The Broadsword and the Beast' might just be the underrated gem of their 80s material. Delving further into the collective study of electronic and art rock sounds as well as taking advantage of new possibilities offered by synth-based instruments, and that is to say, much in the same vein as other legacy acts of the seventies (prog-pop pioneers Yes and Genesis, and Talking Heads-inspired King Crimson quartet), Tull had crafted a rather delightful and well-articulated collection of digestible and enjoyable songs, on a an album that impresses with its evocative upfrontness and straightforward arrangements, an excursion of accessible sounds and lyrical mythology - just peek at the great cover art and the medieval-looking imp with its menacing broadsword, the epitome of Jethro Tull perhaps!

What we have on 'Broadsword' is a fantastic combination of the acoustic rapture of earlier albums and the electronic experiments of Peter-John Vettese, quite an important figure in the forging of the band's renewed sound and musical identity. Balancing out elements from rock, prog and AOR and the respective production values of the 80s, the final structure of the album allows for its focused flow and pleasant unfolding of various sounds. At times groovy, at times moody and mystical, this is an album that probably tries to re-capture the eclecticism of some of the band's past achievements, and while 'Broadsword' is no masterwork, it is a really solid album for what it's worth, and a rather good listen. As usual we have a powerful opener in the face of 'Beastie', followed by the gracious 'Clasp', where the synth-based soundscapes generously elevate the more traditional Tull sound. Three more songs, all of which really fine, complete side one titled 'Beastie', while the second side going under the name of 'Broadsword' is where all the exciting material is kept - the title track, 'Pussy Willow', and 'Watching Me, Watching You' stands as excellent examples of how the band had moved on, embracing the techniques of the 80s yet remaining true to the J-Tull identity and crafty, ingenious writing, making this 1982 release one of the better albums of theirs overall.

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