MINSTREL IN THE GALLERY

Jethro Tull is an interesting band, stylistically. The Cover to MINSTREL IN THE GALLERY shows a medieval minstrel playing to a hodgepodge of characters. This diversity is a centerpiece of Jethro Tull's music. They have a knack for mixing hard rock, English folk, and Elizabethan themes into a cohesive, entertaining musical whole. They are also one of the few guitar-driven prog-rock bands out there. This is not to say that the keyboards, Palmer's string arrangements, and of course flute do not contribute to the overall sound. Unlike in Genesis or Camel, where flute plays a muted role, the flute is considered a lead instrument by Jethro Tull. Combine this with Anderson's humorous and witty poetry, and you have an excellent progressive band. These characteristics are all displayed masterfully on the 1975 Tull LP, MINSTREL IN THE GALLERY. By now, Jethro Tull was severely out of critical favor after their ultra-progressive PASSION PLAY and the uneven WARCHILD. On MINSTREL..., Tull returns to all the musical motifs that made THICK AS A BRICK a masterpiece. MINSTREL manages to be one of Jethro Tull's prettiest and hardest rocking work, a very surprising feat when woven together. The title track, Minstrel in the Gallery begins as a very folksy-mediaeval piece, full of acoustic guitars and delicate singing. This then changes into heave electric, rock, with screaming guitar work by Barre. The contrast is amazing on this song, and shows how talented Ian Anderson was at composition. While many artists are torn between musical influences, Jethro Tull simply mixes them freely, ensuring an ever interesting experience. One should check up on the very self descriptive lyrics to this song, as it shows how Anderson was feeling, after reaching world popularity. Cold Wind to Valhalla focuses on the legendary Norse Heaven, 'Valhalla'. It is a very good straight rock song, with enough Tull flourish to keep it progressive. The vocals are also a standout on this track. Black Satin Dancer, with its heavy string arrangements, is a little top-heavy and doesn't quite deserve a seven-minute duration, but nonetheless is somewhat enjoyable. The next too songs represent Tull at their prettiest. This is before their folk craze, so these songs are acoustic, but are more classical (read: elizabethan) sounding. Both Requiem and One White Duck... are very good, light pieces. The guitar on these pieces is especially good. The masterpiece of the album remains the epic Baker Street Muse. This seven-teen minute suite directly recalls Thick as a Brick, but is much lighter and more playful (with much more coherent lyrics). It features the trademark blending of acoustic and electric sounds, and is simply and amazing track. This song also features Anderson's best lyrics in years. While the epic PASSION PLAY was dark, dense and overbearing, Baker Street Muse, manages to pack tons of great music into the long package without suffocating the listener. The album closes with the gorgeous Grace, a little 30 second acoustic coda to the album. This album represents Tull's most medieval/elizabethan work, and is highly recommended. Prospective fans should still start with the mainstream AQUALUNG of THICK AS A BRICK first. This album is definitely for the Tull faithful.

I am torn between a 4 and 5 star rating. This is an amazing work, easily a Tull Masterpiece, but not a masterpiece of prog (It's not on the level of Thick as a Brick), so I'll go with the 4. That does not mean it is not great though.