Thick As A Brick 2 [CD+DVD]

This is a hard album to judge in any objective way. If you are a newcommer it may be hard to understand and yet most people who are likely to buy the album are also likely to think it should have never been made in the first place, for several different reasons.

First of all, Jethro Tull's 1972 album Thick As A Brick is a beloved classic of the genre, that doesn't really need a sequel both because it worked on its own and because it was a deliberate send up of concept albums themselves. Besides that, the story of this sequel is about the life of the fictional writer of the previous album Gerald Bostock and not the lyrics of the actual album itself. Therefore in essence, this is more of a sequel to the album's artwork or meta-narrative than its narrative, which is a weird thought.

Secondly, this album is not released under the same Jethro Tull band-name that the previous Thick As A Brick was. This situation is almost like Roger Waters releasing The Wall 2 as a solo album, which is another weird thought, and sure to cause confusion when filing. You could find yourself thinking too much about whether you file it as an Ian Anderson album, a Jethro Tull album or under a new category called `Jethro Tull's Ian Anderson.'

Another point is "why now?" It has been so long since the first one. Ian's voice has changed so much, his playing style has changed so much and the music scene has changed so much. Surely Ian would know how defensive of the original everyone would be after this much time. No album will look good when it has to be compared to something that people have loved for decades.

Finally, Martin Barre, who has been on every single Jethro Tull album ever, except their debut, is absent. The album is called Thick As A Brick 2, but doesn't have Martin Barre on board. This is arguably the weirdest thought of all, but then Ian wrote so much himself that you can understand his decision, even if you don't agree with it.

With all those things stacked against it, some people will dismiss the album altogether and say that it should never have been made. However seeing as it actually HAS been made, the main question that people should be asking is how good is it?

In my opinion it is actually pretty good, but only if you allow yourself to get really objective about it. It in no way lives up to its predecessor, but then no one realistically expected it to. It doesn't much sound like the original at all, more like a mixture between Heavy Horses, Chateau D'isaster and Dot Com.

Tracks like `Shunt And Shuffle' are energetic and heavy, there is a mixture between tasteful moments (`A Change Of Horses'), humour and whimsical silliness (`Cosy Corner' and `Give Till It Hurts') and a lot of flute work, which is what I always like about most of Ian and Tull's work. Interestingly, the lyrics bring up A Passion Play and Locomotive Breath, make of that what you will.

Structurally, the album does not follow the same formula as the original album, specifically it isn't just one giant song from start to finish, although as it is still a concept album it does flow together a bit more than just a standard album would. 'Old School Song' actually sounds like the original album too and there are a few musical ques from the original; for example the album begins like the gap between sides one and two and the record ends with a completely unexpected reprise of the original albums `So You Ride Yourselves Over The Fields' bit, with the word `two' added on.

There are these few connections with the original, in addition to the lyrics and artwork but in all actuality most of the material, for example `Wooten Basset Town' and `Upper Sixth Loan Shark' are much more like the last two proper Jethro Tull Studio albums, Roots To Branches and the aforementioned Dot Com. If you stripped away all the Thick As A Brick elements, it'd still be one of the strongest albums with Ian on it in years. Basically, If you like Ian's newer talking-vocals and the big power chords and mid paced songs that pick up for the solos, then this is going to be right up your street.

If however you don't like Ian's solo albums or the sort of albums that Tull have been making since 1989's Rock Island, then this is definitely not going to be something that you enjoy.

Overall; if just being related to Thick As A Brick isn't enough for you, then maybe give Thick As A Brick 2 a miss. However if you do like albums like Dot Com and The Secret Language Of Birds, and if you don't feel too upset about the lack of Barre and the whole name situation, then by all means give it a shot. It is actually a pretty solid album with enough enjoyable songs to keep you interested, if you are willing to forgive its flaws.

*** If you should buy the special edition, this version is housed in a double-digipak and comes with a booklet featuring linear notes, the CD and a DVD which contains alternative mixes of the TAAB2 album (but not TAAB1 in case you were wondering.) You can pick the audio of the album in a choice of formats: DTS 5.1, Dolby AC3 5.1 or 24/48 Stereo LPCM.

Furthermore, this disc contains PDF files of the fake St Cleve site that this album uses as analogous to the original album's fake newspaper, as well as PDFs of the lyrics in various languages, a 15 minute making of video, a 15 minute interview video and a 20 minute lyric reading video in front of green screen backgrounds. Altogether, this is a neat DVD and is worth checking out if you can get the version for a reasonable price. ***

The eagerly anticipated followup up to "Thick as a Brick" finally hit the shelves and proggers and Tullites everywhere drooled over the premise of a sequel. It is a sequel in the sense that it follows the story of Gerald Bostock 50 years later, the newspaper artwork is there, the albums mentions parts of "TAAB" and of course pays reverant homage to the music of the original classic. It does not measure up to the classic and I guess it was too much to ask as that was a product of its time that seemed to come out at just the right time. It is impossible to catch lightning in a bottle but I think Anderson was more interested in continuing the story that fans loved so dearly. It is an unexpected album as it is released so many years after "TAAB". Alice Cooper did the same thing last year with his "Welcome 2 My Nightmare" which is again nowhere near the original masterpiece of the 70s. Queensryche also recently released the sequel to the incredible "Operation Mindcrime" but it was nowhere as successful. Some may ponder why bother at all releasing these inferior sequels, and I was in that boat until I actually heard the "TAAB2" album which quickly changed my mind. I have heard these tracks many times and have come to the conclusion that this is one of Ian Anderson's best releases.

"TAAB2" is an excellent album, a far cry from some of the mediocrity that Tull and Anderson have churned out over the years. Many may liken it with good reason to the sound generated on "Heavy Horses" or "Roots to Branches". It is certainly as good as those albums if not better. It is filed under an Anderson solo album which is rather frustrating as it should be a Tull album, but Martin Barre is criminally absent and therefore the sound is nowhere near as good. Florian Opahle does a comparable job on guitars but he is not a shadow of Barre. The songs on this album make up for any musical discrepancies. I love how Anderson reverently mentions references to his older albums, sometimes too blatant but there is no mistaking that the references exist. The story itself makes as little sense to me as the original "TAAB" but I have never been that interested in the story of "TAAB", it is the music that captures my interest. The 5 possible futures of Bostock are as follows; the banker, who is only after cash at the cost of others interests, the homeless man has been sexually abused, the military man is interested in valour and has a loyal persona, the preacher is power mad and lusts for money, and the shopkeeper who wants to sell things anyway even on ebay. Musically this album is one of the better efforts from Anderson, especially some of the longer tracks. There are heaps of transition tracks, as if Anderson was going to release this in two halves and then decided to break up the songs into sections. The songs segue together seamlessly overall and there is even a nice little break mid way just like on the vinyl.

"From A Pebble Thrown" begins proceedings with a narration and some atmospherics of birds and wind effects. "Pebbles Instrumental" is where the actual music comes in and it is a gradual fade up of guitar, piano and wind. The bass of David Goodier and Scott Hammond's drums keep a steady rhythm. Finally the flute is heard gently and patiently warbling as the staccato guitar stabs are heard. A prog riff pattern comes in and stops to allow Anderson to sing some melodies "white knuckle fingers on the safety bar, which way to blue skies.. dark promises of blood and gore, interventions at every turn." The song builds to a moderate tempo and some catchy guitar licks. It sounds like Tull but nothing really like the original "TAAB", though I was not expecting that in any case.

"Might-have-beens" has the flute intro we all love and it builds into the brilliant emotional flute trilling and it was nice to hear Anderson sing "thick as a brick, thick as a brick.." reminding us this is a sequel. The music is joyous and exuberant with floating flute and held back guitar distortion. I like the way the lead guitar trades off with the flute and there is a section where musicians take turns including accordion, bass, and drum. A great start to this album that harkens back to the glory days of the 70s. A narration follows, "we all must wonder.." to keep the story flowing, and Anderson is as good as any narrator, a bit cynical but vindictive in his approach.

"Upper Sixth Loan Shark" is a short transition with Anderson's vocals driving it; "interesting sugar coated bitter pills.. float aspirations nothing finer." It segues into one of the greater songs. "Banker Bets, Banker Wins" may be one of Anderson's best compositions. Certainly it shines on this album with great melodic vibe, memorable riffs and a shimmering 70s organ from John O'Hara. The flute is ferocious on this, trilling and aggressively played. The lead guitar is stronger than on other sections of the album even featuring lead guitar sweeps and high string bends. I missed Barre on this album but here I enjoyed Opahle's guitar. The lyrics are about "Big fat bonus in the offing, Draconian calls for regulation, are drowned in latte with Starbucks muffin", and "cheque's in the post, not worth the ink it's written in". The heavy and melodic approach is typical Tull and outstanding among the other tracks.

"Swing It Far" is a narrative with Anderson half singing in places telling a story of "gentle peasants.. overnight he did a runner.. I fell to pieces dropped out of classes.. market in the winter a stone's cold throw from Kentish town.. independence far from suburbia.. how's your father, not too chipper, serves the bugger flipping right." Shades of "Aqualung" are here. The quiet verses are balanced by loud choruses with some of Anderson's more aggressive vocals. Overall not a bad track that seems to grow on you.

"Adrift And Dumfounded" is an excellent song with catchy melody, acoustics, organ and Anderson's relentless storytelling vocals. The time sig is quite innovative and I like the way the guitar chips in accentuating the sound. The lyrics are interesting; "with nowhere to go no appointments to keep, he's our little man, adrift and dumbfounded, head on hard pillow waiting for sleep". The heavier approach on guitars and drum embellishments are excellent. The song gains tempo and some powerful guitar licks lead to a welcome lead break with some flute and sprinklings of piano. The vocals return with "broken societies selfish uncaring.. desperate measures desperately tearing.." It finishes with the awesome musicianship of the band and actually would have to be one of the album highlights.

"Old School Song"is a great fun rhythmic flute driven piece with tons of guitar riffs. Anderson is upbeat on vox and it has a terrific melody. The odd time sig is pleasant and you have to love that rumbling organ of O'Hara. This even sounds like old school Tull, especially with the trade offs of flute and guitar. The flute trills and lifts the song to its exuberant conclusion. A quieter song follows, with a memorable melody once heard.

"Wootton Bassett Town" begins with a lonely piano and Anderson rhythmically uses phrases in innovative rhymes. Anderson is gentler on vocals and it has a gentle melancholy feel. The lyrics speak of "My wife, my God unheard, unseen, Who never thinks to intervene, Oh, what pain and oh, what lie has called to us, from heaven on high? This cruel and harsh sweet punishment for follies acted, leaves us spent". Other imagery opens up the story even further as Anderson speaks of a "dusty scorched wind blast track", "church bells sound", "politicians", and "shoppers and tradesman stiffly stand and shed their tears for the military man." The instrumental is great flute and guitar with swathes of violin strings generating a beautiful sound. This one really grew on me especially the infectious melody.

"Power And Spirit" is another heavy track and the guitars crash in with crunching organ that wakes you up. The cynical lyrics are strong, "candles flicker in the quire.. raptures touch me, lift me, shake me, brotherhood, an ode to joy.. I sense the glory road.. follow me to serve dark master."

"Give Till It Hurts" begins with "let us pray" and then Anderson speaks of "the humbled Reverend Gerald", and finishes with "praise be to him and hallelujah". The song is an open irreverent stab wound to the tele-evangelist scam artists that cry out for money.

"Cosy Corner" is an odd thing with Anderson monologuing of familiar images such as the "slow passion play" and "locomotive breath"; "With characters by Harold Pinter, dark silences, slow Passion Play, then home to fire up model trains and shunt and shuffle wagons, locomotive breath upon his brow". The horns follow this odd banter until we get to a very cool riff segueing to the next.

"Shunt And Shuffle" has a strong melody and one of the best on the album. The guitars are Barre- like, and Anderson is in fine form on vocals and flute as usual. The lyrics mention "same old words, another take, while all the time life slips away, but slips so slowly, stretches moments into slow-burn Passion Play." The guitar and flute break that ends this is wonderful.

"A Change Of Horses" is one of the longest songs for years from Anderson clocking 8 minutes. The reference to horses may be a nod towards "Heavy Horses". The music is quite refreshing beginning with ambience on flute and some droning keys. The sparkling water effects are balanced by accordion style notes and some acoustics. This folkish intro is long and builds into very nice flute, softly played as a tempo begins with Anderson's vocals. It is akin to a ballad with some innovative moments. Lyrics include some of Anderson's most potent imagery; "Last lights wink out on this pale and sultry night, Stars signal long past two AM. Read more ›

Hmmm - clenches pipe and ponders - a difficult one. Is it (in effect) a new Tull album? Is it a genuine concept album (that is, one continuous piece of music) or just a CD with 17 tracks? Is it really a follow up to TAAB1? Well its a bit of all of these so best to keep an open mind then. And no Tull/IA music should be judged on a single play - you need to listen to it at least a dozen times before you can say anything sensible about it.

Having said all that, then this album is not at all bad. Its linkages with TAAB1 - both lyrically and musically - are not all that strong (but they are there) and there are quite a few echoes (= bits of it sound like) previous Tull/IA tracks - some of it even echoes TAAB1 itself (and the beginning and end are actually a reprise of small parts of TAAB1). But what can you expect from a man nearing retirement age? Not the creativity of youth but that is fair enough.

All in all, this is a pretty good effort and a worthy addition to the Tull/IA music stable. New IA music is a rare treat and ought to be savoured in whatever form it is released. Just remember that "the tune ends too soon for us all".