SONGS FROM THE WOOD

What's not to love about an album that puts you in a different world. Or, in this case, the woods! It makes you feel as if you are sitting around a campfire, and to make matters even better, Ian Anderson is their singing for you. His vocals really shine in the title track, "Songs From The Wood". The vocal harmony is a jaw dropping intro to a very folksy, and bluesy album.

"Songs From The Wood", the title track opens up with Ian performing awe-inspiring a Capella vocals. an ethereal acoustic piece accompanied by clapping and other assorted percussions. Some medieval lyrics reside within this song, making it even more folksy. The bass in this song is very prominent and sounds great with a nice pair of headphones.(Now that I think about it, all of Tull's material sounds very crispy and amazing with a decent setup, save Passion Play - Steven Wilson: please remaster Passion Play!) Anyway, the song reprises with, "poppy's red, and roses filled with summer rain," ending with an amazing and precise flute solo. The drums become increasingly complex with very odd time signatures.10/10

"Jack-In-The-Green" is another folksy song beginning with a mildly simplistic acoustic guitar riff. Building into a song with up-in-your-face vocals, flute, and various percussion. 8/10

"Cup of Wonder" Reminiscent of Jack-In-The-Green, beginning with a nice guitar riff, progressing quite quickly into a foray of bass, percussion, and Ian's ever so unique vocals. 9/10

"Hunting Girls" Beginning with a neat song structure with a small flute solo, going back and forth between bass, guitar and flute solos, until they all meld into one piece; a very unique composition. I love the bass in this song, it's so warm and full sounding. <9/10

"Ring out, Solstice Bells" is very atmospheric, the words to describe this escape me. The only description i can give it that it feels like a song they would place at the end of an indy horror movie. It has eerie moments, that are kinda of offsetting, but are also very beautiful in a Tull kind of way. All I can say is to just listen to it for yourself. Very unique composition.10/10

"Velvet Green" starts off side two, with neat synth, flute and acoustic guitar pairings. The percussion kicks in, and the ride begins. Ian's vocals feel like they go in and out of the mix when listening through headphones. Not really a standout track in my opinion, but this is an album that needs to be listened to from beginning to end. 6/10

"The Whistler" Another acoustic-oriented song, with Ian playing a whistle, and of course some flute. Very much a folk-oriented song with lyrics describing himself as 'the whistler'. A definite campfire song. 5/10

"Pibroch (Cap in Hand)" starts off with an electric guitar which, in my opinion, doesn't fit in with this album's concept, but it isn't too big of a deal, as the rest of the song is pretty mellow with synth, prominent bass, and beautiful Ian vocals. The song progresses flawlessy into a semi-epic assortment of piano, crunchy guitar, and warm bass; accompanied by flute, and guitar jams. The mandolin/flute breakdown is very folksy and fits in with the albums concept perfectly.8/10

"Fire at Midnight" closes the album with a dark, campfire melody. Marching-esque snare, flute, bass, and Ian's vocals once again meld flawlessly. 10/10

Overall, 4/5

If you're into great flute playing, and folksy concepts, you're bound to love this album. I'd say this is Tull's second greatest album after Thick as a Brick. Definitely an excellent addition to any prog-lovers collection.