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A

a Studio Release
Release Year:
1980
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Added To Proggnosis on: 01 Dec 2000
Last Updated on: 31 Jan 2011 by: Rob

Track Listing 

  1. Crossfire
  2. Protect and Survive
  3. Fylingdale Flyer
  4. Batteries Not Included
  5. Working John, Working Joe
  6. Uniform
  7. Black Sunday
  8. 4.W.D. (Low Ratio)
  9. The Pine Martin's Jig
  10. And Further On

Performer Credits  


Ian Anderson
lead vocals, flute
Martin Barre
guitar
Dave Pegg
bass
Mark Craney
drums
With:
    Eddie Jobson
    keyboards, electric violin, additional musical material

Reviews


review by: MJBrady'A', The ever enigmatic Jethro Tull release from 1980, enigmatic in that from out of nowhere Ian Anderson assembles an entirely new line-up, puts out this very different sounding vibe, and than never releases another album with this same line up. A lot of the Tullisms are all over this album, and having the keyboard wizardry of Eddie Jobson, as well as his electric violin seemed like a match made in progheaven,and fit with Anderson's flutes and vocal antics quite nicely. The other newcomers also have a hand in this intriguing new style, drummer Mark Craney, who had been making a name for himself with his performances with Jean-Luc Ponty Tommy Bolin & Gino Vannelli, found himself in the unenviable position of following the great Barriemore Barlow, who had a longstanding stint with the band, no doubt, Barlow left an indelible print on the quality of drumming many Tull fans had been aquainted with when considering the many great recording he had been involved on, and his playing speaks for itself. Craney brings his great sound, punchy and technical style to the 'A' album, and he makes a mark of his own, showing a altogether different approach to drumming, which has a lot to do with the overall effectiveness of this album. Also along are bassist Dave Pegg, his squonking, bouncing, basslines are full of counter melody, as well as complex lines that sounded unheard of at this time. Long time partner Martin Barre, who is irreplaceable as a Tull member, also joins Anderson, it seems the two were made for eachother, and history has proven this up to the date of this review(2002). Rumor has it that this recording was mean't to be a solo project from Ian, but the record evolved into an official Tull release, and hence, a tour soon followed. The impact of this music, and it's new members, when listened to in context of previous albums, is a pure surprise, with the exception of the song The Pine Martin's Jig, the acoustical medieval musical influences were all but gone, and this new electric, fusion injected, yet remarkably Tull sounding album completes a full makeover on the bands 70's sound.

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