HEAVY HORSES

This is - inexplicably - one of the most overlooked and sometimes even reviled albums in the almighty Jethro Tull's catalogue. Together with the equally great "Songs From The Wood" (1977) and the slightly less accomplished "Stormwatch" (1979), "Heavy Horses" forms part of the so-called folk-prog Tull trilogy. These three albums - but particularly this one - all convey an almost sophisticated and whimsical air of English charm, unlike the slightly vulgar and base "Too Old To Rock and Roll, Too Young To Die" (1976).

"Heavy Horses" features some of Ian Anderson's most evocative and alluring lyrics. The subject matter, if it can be summed up so succinctly, is that of the rustic English countryside and all its charm. With topics ranging from weathervanes to field-mice, Anderson conjures up images of enchanting beauty with a poetic simplicity rarely achieved by other prog wordsmiths.

Here is my track-by-track review of the album:

And The Mouse Police Never Sleeps (03:12) - The sound of a snorting horse ushers in the crystal-clear acoustic guitar, drums and John Glascock's perky bass, while Anderson uses his best gruff voice to narrate the age-old saga of the cat and mouse. It has a tricky meter and unconventional rhythm I can best describe by quoting the lyrics "swishing through the rye-grass". The only (relative) low-point of the song comes right at the end, when Anderson does a sort of acapella vocal section that is a bit too long, slightly irritating and harsh on the ears. It ends with a raspy cough a la Black Sabbath's "Sweat Leaf". (9/10)

Acres Wild (03:25) - another upbeat number resembling a sort of prog-rock Irish jig (what an image!). Martin Barre's guitar weaves a tapestry of the finest texture amid the melodic violin backing whilst Anderson contributes some randy vocals. To some degree, it actually resembles Dexys Midnight Runners' "Come On Eileen"! (9/10)

No Lullaby (07:55) - After the overtly folk sound of the previous two tracks, this is much more in a hard rock vein with some complex riffs and a particularly frenetic performance by the rhythm section (Glascock on bass and Barriemore Barlow on drums). It hearkens back to the sound of "Minstrel In The Gallery" (1975) and even "Benefit" (1970), i.e. "classic" Tull, yet to me the arrangement feels slightly sloppy and disjointed. What it lacks in this department, however, it makes up for in instrumental prowess. (8/10)

Moths (03:28) - My absolute favourite track on the album. Simple but richly melodic music, lush orchestration by David Palmer and wistful lyrics sung with sincerity by Anderson. I actually have this song's lyrics up on my wall next to my computer. It's amazing how he can turn something as trivial as moths drawn to a flame into something so profound. (10/10)

Journeyman (03:58) - This is Glascock's moment of glory (or at least his bass guitar's!). What a cool bass tone he has achieved on this album! The only other thing I can compare it to, is Chris Squire of Yes's mighty sound (and those in the know will realize the significance of this statement). The jaunty bass-line absolutely owns the song! It is punctuated intermittently by Barre's distorted guitar howling like a vexed tiger and Anderson's trusty trilling flute. (10/10)

Rover (04:17) - an upbeat track with a veritable plethora of activity in the instrumental department, a great flowing melody and Anderson in top form with his vocals. Most entertaining is the use of marimba, which adds another dimension to the drumming. (9/10)

One Brown Mouse (03:23) - probably the least satisfying track on the album, but only relatively speaking. Great lyrics, as always, sung so harmoniously that it positively aches. They really should have created the Nobel Prize for Melody on the strength of this album (oh how I love hyperbolic speech.) (8/10)

Heavy Horses (08:55) - Another triumph for Anderson in the lyric department. Allow me to quote:

Iron-clad feather-feet pounding the dust An October's day towards evening. Sweat-embossed veins standing proud to the plow Salt on a deep chest seasoning. Last of the line at an honest day's toil Turning the deep sod under Flint at the fetlock chasing the bone Flies at the nostrils plunder The Suffolk, the Clydesdale, the Percheron vie With the Shire on his feathers floating. Hauling soft timber into the dusk To bed on a warm straw coating.

Man this guy must love horses to describe them with such flair! The piano is very prominent in this song, adding a sense of gravitas to the already elegiac lyrics. At the 04:00 mark, the tempo increases for an instrumental section embossed with another wonderful David Palmer orchestration with heavy emphasis on the strings. (10/10)

Weathercock (04:07) - a stately closer with a marching beat and great fluting by Anderson. Perhaps a tad too long and stagnant, but nothing to really ruin the ending of a great album.

Newcomers to Tull could absolutely start here, if they take note that not all of Tull's albums sound like this. Four years later, for instance, on "Broadsword and The Beast", they plowed a very different furrow (pun absolutely intended). But to showcase their musical proficiency, inspired lyrics and innate gift for melody, this album should do the trick.

Thank you for your time. FIVE STARS.