THE MICHIGAN DAILY
Friday, MG' rch 24,,197:!
Page Six THE MICHIGAN DAILY Frid~iy, March Z4, .1 ~72
Tull's brick is not really so thick
Dy KENNETH ALTSHULER public received a classic.
Jethro Tull never ceases The two-sideu, unbanded musi-
amaze me, In three albums they cal score combines a quality of
established their unique style of basic themes, a variety of musical
classical, jazz, blues, rock, and interludes, and effective schema -
folk musical interludes. In their tic transitions. The album opens
recent Aqualung, they exempla- I with Anderson's acoustic guitar
fied their ability to present an and flute work surrounding a mel-
idea and explore it in their al- low melody. The softly-sung tune
ready established musical talents. breaks into a combination bass!
Thick as a Brick, Tull's newest drum duet provided by Jeffrey
concept album is of high sync- Hammond - Hammond and Bar-
phonic quality, combining perfect riemore Barlow, transfering to a
musical and lyrical correlation new theme. Here Tull's artistry is
with the finest nusicianal exper- evident. The same guitar and flute
the ever preseted. n-is present, but the transition is so
perfect that it would go unno-
Thick as a Brick, states the tired if not for lyrical differences.
twelve page newspaper - album In the next melody we hear the
housing the English release, is a most beautiful song found on the
poem composed by- eight-year-old albums. A tambourine introduc-
Gerald (Little Milton) Bostock. tion leads into organ support by
After winning the Literary Com- John Evan, and further bass and
petition sponsored by the Society percussion phases create a tran-
for Literary Advancement and quil musical color emphasized by
Gestation, he was disqualified be- Ian singing "The poet and the
cause he had indicated his "ex- painter casting shadows on the
tremely unwholesome attitude to- water as the sun plays on the
wards life, his God and Country". infantry returning from the sea.",
But the one-legged flautist, Ian Further example of Tull artistry
Anderson, was so enthused upon is two completely unique guitar
reading this epic poem, he com- leads performed by Martin Barre
posed forty-five minutes of pop simultaneously and practically in-
nusic to go with it, hence Gerald distinguishable.
Eostock became co-writer of the Following this soft-spoken song,
new Jethro Tull album. And the we have a strong. surging melody
low a three-part organ, flute, and giving Evan, Anderson, and Bar-,
percussion interlude. In constant
transition, Anderson follows with
a marching, uprising melody. This
is a perfect example of Ian's ex-
cellent artistry in correlating mu-
sical and lyrical thoughts; in a
turbulent song we hear "I've come
down from the upper class to
mend your rotten ways". Quickly
Anderson's acoustic guitar returns,
introducing a choir-sung type
melody. In the middle of this
theme Ian has further created a
child's mood induced by his pied-
piper flute and Barlow's toy-piano
xylophone quality. And to perfect-
ly lyricise the song, we hear "So-
Come on ye childhood heroes!
Won't you rise 'up from the pages
of your comic-books?/your super-
crooks/ and show us all the way".
The second side opens as the
first side had ended: with an ar-
ray of percussional and orches-
trative sound effects. In a true
symphonic manner, we have repe-
tition, modulation, and completion
of themes ending Anderson's tale.
Throughout the development we
continually hear two or three re-
turning themes to be experiment-
ed musically and expertly. One
sore spot appears in a short, non-
sensical and nondirectional jazz
jam, but it does little to affect
the already established musical
Th re-occuring themes remainF
kinetic and uptempo. The melo-
dies are modulated by double
tracks and surprising sound ef-
fects, but Tull reserves the last
side to emphasize musical ability
more than thematic creativity.
Barriemore Barlow has exempli-1
Continued from pg. 5
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sion ability in this album. His Rug Yarn - only 30c
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pansion to percussional experi- LONELY PEOPLE. I'm trying to find'
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tinguishes the album as purely .
Ian Anderson remains Ian An-
derson which is complimentary-
enough. He expands his already
incredible expertise into the saxo-
phone, violin, and trumpet; andE
has distinguished himself as the
best songwriter J composer/per-
former to appear in recent years.
And of predominate importance
in the effectiveness of Thick as a
Brick's presentation is the com-
plete group effort. John Evan no
longer supports other leads - he
has begun to innovate and estab-
lish his own individuality. Martin
Barre and Jeffrey H a m m o n d-
Hammond are an excellent lead
and bass combination. and has
added to. if not completed, the
Jethro 'Pull concept.
GERMAN TRANSLATIONS by native
speaker: will summarize; save time.
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Some notes on the ex-Beatles
By MARY CAMPBELL
Associated Press Writers
Once it was the Beatles. Now
it is John-and-Yoko, Paul-and-
Linda, George, and Ringo.
Artistically, although t h e r e
have been some very good songs,
nothing the four have recorded
individually in 1970 and 1971 has
had the musical magic that once
coivinced everybody that the
Beatles were great.
In the market place, however,
each is doing well. In six years,
the Beatles made 20 gold singles,
starting with "I Want To Hold
Your Hand" in January, 1964,
and released 17 LPs, all of them
"Gold" means a million or more
45 rpm recordings sold and $1
million or more in manufacturers
sales for an LP.
In the last two years, John
Lennon and Paul McCartney
each has had four gold records,
George Harrison has had three
and Ringo Starr has had one.
In their heyday as a group,
the eBatles songs usually had
melodies by McCartney and
lyrics by Lennon.
Then came marriage-Lennon
to Japanese artist Yoko Ono and
the path of the avant-garde, bed-
ins for peace and "happenings;"
McCartney to Linda Eastman,
daughter of a New York lawyer,
and middle class respectability,
a farm in Western Scotland, chil-
In his own recordings, Lep-
non's songs are highly eonfes-
sional perhaps loosed by his psy-
choanalysis. McCartney's are
mostly about domestic content-
But each sometimes attacks
the other in lyrics-a legacy of
the bitterness remaining from
McCartney's court action to split
the Beatles legally. The group is
tied contractually for six more
In one song, "How Do You
Sleep?" Lennon says "Those
freaks was right when they said
you was dead . . . the sound
you make it Muzak to my ears."
At one time several years ago.
rumors spread'through the teen-
age world that the baby-face Mc-
Cartney was dead; that pictures
of him on Beatles albums were
really of a look-alike; that
Beatles songs contained hints of
McCartney's new album, "Wild
Life," contains more subtle at-
tacks on Lennon. The title song
has a line "taking a walk
through an African
The L? ends with the
"Dear Friend," about a
friendship gone sour.
In many respects. George Har-
rison is coming on the strongest
on his own.
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