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19 of 20 people found the following review helpful
This is Ian Anderson's first solo offering and is an album overlooked by many. Released in November 1983 a year after Broadsword And The Beast I can remember at the time hoping that it would be of similar style but with possibly more of an acoustic edge. In short I had hoped for some songs similar to Wondering Aloud and Slipstream from Aqualung. Just Ian Anderson and guitar, that sort of thing. Sad then to report that the finished product turned out to be nothing of the sort, consisting of typical 1980's keyboards and of all things a drum machine. Even the album cover looks grey and rather dismal.

I can remember the day in 1983 when I purchased the record from Subway Records in Brighton and at the time feeling rather upset by the look of the cover. I felt sure that soundwise it was going to be similar to Tull's controversial 1980 'A' album which I was almost violently anti at the time. Even a friend of mine who I was with at the time refused to stand next to me in the queue such was the unfashionable look of the album cover and indeed the name Ian Anderson.

However, I went ahead with the purchase and now some 23 years on I think it a very good album packed with some very good songs and tunes. Yes, some of the keyboards and drum machine sounds do seem a bit dated now but somehow Ian Anderson gets away with it and the songs still manage to sound good. At the time Anderson was working with keyboardist Peter Vettese and to be honest the collection of songs is more a joint effort between the two of them rather than an absolute Ian Anderson solo effort.

In my opinion if Walk Into Light had been released as a fully fledged Jethro tull album of the Broadsword era minus drum machine, and made earthier and warmer with mandolins and more flute etc then we would be looking now at an absolute classic.

It's a fact that good tunes last forever regardless of the passing fashions of the instruments that make them. And it's the good tunes that keep this album very much alive today. In fact it's pretty much a perfect set from start to finish with standout songs for me being Made In England, Toad In The Hole and Looking For Eden.

Lyrically also it comes up trumps. A particular favourite line for me that paints a vivid picture is on Toad In The Hole..."Kicking through the wet leaves lying all along the Station Road. Past tired graffitti wailing, raw emotion to unload". Now that's good writing and worthy of a place on any classic Jethro Tull album.

Also of merit on Walk Into Light is the quality of Ian Anderson's vocals which sound superb. It's sad to reflect that only a year or so later his voice would become damaged and never be quite the same again.

So, to sum up Walk Into Light I would say that yes it has suffered a bit with 1980's style keyboard related fashion problems. However, that said it is still a hidden gem packed with instantly accessible tunes and definitely worth seeking out. In short no proper Jethro Tull fan should be without this record.
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5 of 5 people found the following review helpful
on 18 March 2011
I can't really add much to what these reviews already say. The thoughts in these reviews pretty much are the same as my own. I remember buying the album in the tiny HMV shop in Southampton and feeling extremely disappointed with the cover (resembling, as it did, the old BBC test card). I wasn't encouraged either by the sound. It seemed to me that the 'A' album was a failed experiment with electronics, whilst Broadsword was a return to form, so this just looked like a backward step. But the album grew on me, as it did with everyone else. The mixture folk and electonics, coupled with quite brilliant lyrics works extremely well. The contents of the songs echoed my own life that November too. The dreams in 'Toad in the Hole' we all have when living in a small house (replete with a monchrome TV). 'Looking for Eden' is probably the strongest track on the CD. There isn't a duff track at all here and the music, though now extremely dated, is likely to grow on you with repeated listening. One personal reflection is that it created quite a magical atmosphere in our little house that winter and the music evokes a lot of memories unlikely to be matched in one lifetime.
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16 of 18 people found the following review helpful
on 1 November 2000
The strength of this offering is that it didn't throw out the baby with the bath water. The Tull sound is very much at the fore of Anderson's first solo album, as you you may well have expected, but to it he has added the sound of electronics and the mix of folk and futurism produced sit comfortably together. Ian Anderson's vocals add the crowning achievement of this album; The lightly cynical, kind of sleazy but razor sharp wit of his lyrics and their delivery make it an interesting commentary on many facets of a world that Mr. Anderson obviously thinks a great deal about
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1 of 1 people found the following review helpful
on 7 July 2014
Surprisingly thoughtful, well made 80's solo album by Ian Anderson which has a number of stand-out classic tracks, in particular 'Looking for Eden' and 'Different Germany', which alone more than justify the cost of purchase for Tull fans. Somewhat perversely, Anderson decided to abandon the acoustic guitar completely for his first solo album, in complete defiance of audience expectations. As a result, the album bombed commercially. But despite the prevalence of electronic wizardry and use of drum machines, the trademark Anderson / Tull sound do manage to shine through - much more so than on 'Under Wraps', the band effort released shortly afterwards which was greatly inferior both in the quality of songwriting and musical arrangements. How Anderson could have produced two albums with such radically different characters within the space of a few months defies explanation. 'Walk into light' is much truer to the spirit of progressive, experimental rock and is definitely an underrated gem from this generally unsettled period in Tull's long musical career, when they were juggling commercial pressures against the demands of artistic integrity.
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1 of 1 people found the following review helpful
VINE VOICEon 22 March 2011
Released between the Broadsword and the Beast and Underwraps albums and written and played with keyboard player Peter John Vettese, it's not very surprising that this was Ian Anderson experimenting to the maximum with synthesizers and drum machines. Everyone else was doing the same. This was a time when every single was available in 12" format with extra drum machines and music in most pubs started thumping to the same monotonous beat. Given all that it's amazing this album survived as well as it did and that's down to some fundamentally good tunes and lyrics. Some tracks work extraordinarily well: Looking for Eden, Made in England and Different Germany in particular to my ear. Trains on the other hand is an absolutely dreadful slog that would sound awful no matter what instruments were used. If you don't like Underwraps or 'A' I can't see any way that you'll like this but if your comfortable with that style then this is another good set of songs.
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5 of 6 people found the following review helpful
on 18 April 2005
At the time we all held our breath, expecting a woody sound, rustic lyrics and, well, another "Songs from the Wood".
At first, there was huge disappointment from the fan-base. What went wrong? Had Ian fallen under the spell of Vetesse and Moog?
But then the songs took hold. Of course, the sound was very different, the electronic sound a little overpowering, but what would Tull's music have been without experimentation? We'd still be listening to 'White Man's Blues'... or not! (Would Tull have survived without testing new sounds? I doubt it)
Once you get beyond the shock of how different this is from the late '70s sound, you realise that it echoes 'Under Wraps' and some of the hints we had in 'Broadsword'.
Fly by Night is catchy and punchy, end game has a moody quality, and "Looking for Eden" is possibly in my top 10 of Anderson's lyrical skills.
"I'd rather look around me and find a better song,
'cause that's the honest measure of my worth"
All-in-all, an essential addition to a Tull collector's library, but not one to keep on the shelf for the sake of completeness.
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3 of 4 people found the following review helpful
on 12 September 2011
Those of you, who wants to know whether this is a remaster or not, please note, that this is NOT A REMASTER, this is just a RE-ISSUE. The sound here is the same as on 1989 issue.
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6 of 9 people found the following review helpful
on 19 February 2004
A GREAT ALBUM FOR ANY TULL FAN ONE NOT TO BE MISSED ABSOLUTLEY FANTASTIC A REAL MUSIC MUST!
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1 of 2 people found the following review helpful
on 18 May 2011
I have been searching for a CD copy of this for years, and I'm so pleased it finally got reissued - thank you Ian!

It is very different from the Tull sound, all keyboards with barely any flute. But the songwriting is top notch, and these songs will grow on you. It's the album before Under Wraps, so if you don't like that album you might want to skip this... but you'll be missing out.
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1 of 3 people found the following review helpful
on 8 September 2013
The album "Walk Into Light" was the first officially released solo album by Ian Anderson, known mostly for his work with Jethro Tull. Unlike his previous attempt at a solo album that was converted (forcebly by the record company, according to Anderson), this album used the bare minimum of support artists, primarily Peter-Jean Vettese who had performed with Tull on the album "Broadsword and the Beast" as Anderson attempted to experiment with electronic sounds in a stark contrast to the folk-rock influence that had been dominant since works such as "Songs from the Wood".

The album was not well received by the public, though a few songs did sneak into live Tull performances, especially during the following "Under Wraps" era which drew on similar sounds.

As a long time Tull fan and someone that has had more than a passing interest in electronic music, I found that the combination of these elements didn't really work well. I'm not sure if Vettese's influence was to blame - he was also responsible for the keyboard sound used on Frankie Goes To Hollywood, something that I detested - or if it was that Anderson's work of the time just didn't fit in with that sort of sound. Either way, this is one of those albums that I tend not to play a lot, and the unpopularity of the electronic Tull sound of that era would vanish thereafter with the eventual release of Crest of a Knave.
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