Author: Peter Podbrežnik
Artist: Jethro Tull
Label: EMI Records
Release: 1978
Rating: 5/5
Which rock band or musician would be capable of dedicating an album to a noble breed of ancient country horses facing extinction? The answer is dead simple, because the only real farmers among rockers have always been one and only – Jethro Tull. For a band named after the inventor of the seed drill, “Heavy Horses” is yet another important contribution to the musical portrayal of agricultural pursuits. Their charismatic chieftain Ian Anderson is especially fond of those, having moved out to the countryside for a good while back then, where he drew inspiration for most of the songs on their folk rock trilogy (“Songs From The Wood “(1977), “Heavy Horses” (1978) and “Stormwatch” (1979)). Ian, a proper sturdy Scottish farmer, is among music buffs far better known as the mad flute player, multi-instrumentalist and alpha and omega of the Jethro Tull legacy (though their longtime guitarist Martin Barre would surely have a thing or two to say about that). He’s someone who has always loved riding a tractor, even though he gave up on taking a driving test long ago, and on “Heavy Horses”, with the help of his comrades, he more than successfully presents everyday life on the farm.
“Heavy Horses” carries on the folk spirit of its predecessor, the masterpiece “Songs From The Wood” (1977), but in a somewhat different way. If the previous album idealized and mythologized country life in its mood and poetry, “Heavy Horses” captures a far more realistic view. Instead of fairy-tale stories, the lyrics describe the everyday farm chores and events that were really happening at the end of the 70s on Ian’s estate and in the British countryside in general. That’s why the mood is also noticeably less playful and a bit gloomier than on its predecessor, although there’s still no shortage of witty themes and sounds. Some of the lyrical themes will entertain a lot of listeners even more than ever before.
Just like on the excellent predecessor, Jethro Tull keep playing superb progressive-leaning folk rock, with a heavy emphasis on acoustics that very successfully brings an authentic rural atmosphere into individual parts. A lot of the “blame” for that goes to Ian’s extremely expressive lyrics, which turn seemingly banal topics into an incredibly vivid, poetic and juicy palette of moods, proper farmyard paintings. His lyrics, which talk about mice, cats, hens, horses, weathercocks and so on, blend wonderfully with music that conjures up a Celtic-tinged atmosphere of evergreen plains, fields, islands, lakes and, of course, farms. As for the individual instrumental sections, they’re among the best and most energetic in their history, and the contribution of the rhythm section in particular (John Glascock on bass and Barrie Barlow on drums) ranks among the peaks of their achievements. Meanwhile, the keyboards of Evans and Palmer are in a somewhat subordinate position this time compared to the extensive acoustic sections, especially Ian’s flute. Martin’s guitar, once again, provides the link and a kind of golden mean between the folk and hard rock-leaning sections. One possible reason why this album is so special and differs from its predecessors in many ways may also be the contribution of special guest Darryl Way (ex-Curved Air, Wolf) on violin, who guests on “Moths” and the title track. On most of the songs, Ian has taken an especially witty vocal approach this time, ranging from sharp, energetic narration to extremely melodic expression.
Right from the opening masterpiece “And The Mouse Police Never Sleeps”, where the sound of a snorting horse ushers us into the middle of the action, followed by a crystal-clear acoustic guitar, drums and Glascock’s juicy bass guitar line while Mr. Anderson, in his sharp and at times grimacing voice, describes the “important” goings-on on his farm and the ancient, never-ending saga of cats and mice, the song riddles us with its incredible energy and vivid atmosphere. A superb composition with an unconventional rhythm and plenty of unusual transitions, capped off after the repetitive narration by the loud cough of a highlander with a cold.
“Acres Wild” is another superb creation, packed with a bouncy rhythm and juicy Celtic melodies, driven by an incredibly fast interplay between flute and guitar, which are enriched with some excellent orchestral arrangements by Palmer. Martin’s guitar carries most of the instrumental textures, and Way’s violin also drops into the song brilliantly, giving it an extra dimension. Ian once again serves up some extremely colorful vocals.
After two relatively folk rock-leaning songs, Tull turn more toward their traditional hard rock on “No Lullaby”, which is about evening country apparitions that show up at the windows of children’s bedrooms at night. They impress most with a strong melody, some complex Barre guitar riffs and an excellent solo, plus a frenetic rhythm section from the Glascock/Barlow duo. A treat for all fans of their heavier side.
“Moths” is another genuine Tull classic and, in my opinion, one of the album’s highlights, showcasing all of their acoustic virtues. The simple rhythm on the acoustic guitar is packed throughout with rich melodies, juicy flute and colorful orchestral arrangements. Even though it mostly describes moths dancing around flames, Ian’s vocal is full of incredible pathos. It’s truly amazing how the man manages to get so deeply into something seemingly as trivial as moths and their premature death in the glow of the flames.
“Journeyman”, which is about a city slicker who visits the countryside on weekends, is the moment when Glascock’s bass guitar shines in all its glory, as he managed to create some extremely colorful tones that permeate most of the song and prove what an underrated bassist this was. His contribution is built upon by Martin’s distorted guitar, which once again cuts like an offended tiger, and by Ian’s flute, witty as ever.
“Rover” is another extremely bouncy creation, full of excellent instrumental sections, and it also has an incredibly fluid melody carried by the acoustic guitar, flute and Ian’s vocal, which is in great form once more and wins you over with a juicy chorus. What impressed me most this time, though, is the superb use of the marimba, which adds yet another dimension to the drums. Another highlight of an album that is otherwise stuffed to the brim with goodies.
The acoustic classic “One Brown Mouse” is yet another song dedicated to farm mice, distinguished by acoustic guitar and Ian’s deeply heartfelt vocal (as usual, he’s most impressive where the subject is animals, towards which he never hides his great sympathies).
Next comes the title masterpiece “Heavy Horses”, a huge triumph of all the best elements of the Jethro Tull musical expression and a creation I’d have anyone who doesn’t know their music hear right away. The song vividly shows Ian’s boundless love for the original breed of country horses, which he successfully breeds on his farm so they can pull his plow. The composition is stuffed with wonderful orchestral arrangements by Palmer (excellent use of piano) and energetic tempo changes, with Martin’s guitar and Ian’s vocal particularly to the fore. In the middle the tempo suddenly shoots up, followed by a witty section where we get riddled with excellent orchestral arrangements, built upon by the playful violin of the master Darryl Way and one of Ian’s best vocal performances. A huge highlight of the album and one of the greatest masterpieces in the history of progressive folk rock.
The album closes on an optimistic note with another unforgettable, acoustic-spiced classic, “Weathercock”, which is always one of my favorites when picking their best songs. It’s a romantic folk rock composition that is, from beginning to end, steeped in an extremely high Celtic and also slightly medieval atmosphere. Ian’s deeply heartfelt singing is laid over a rich acoustic melody, a medieval-tinged rhythm and extensive use of assorted whistles and flutes. Another pure ten out of ten, closing the album as superbly as it opened.
It’s worth noting that the current reissue brings an even more “alive” sound in the production compared to the original, and it also contains two bonus tracks. The first of them, “Living in These Hard Times”, is a pretty solid, acoustic-tinged creation, although it would have fit rather poorly on the official release. “Broadford Bazaar” is far more impressive, an acoustic ballad laid over a very pretty, folky melody, created under Ian’s solo direction, meaning just vocals, flute and acoustic guitar. My only gripe about the reissue is that this time they completely forgot to list the musicians, producers and everyone else responsible for the album in the booklet. Also, instead of spoiling the excellent cover with a “copy control” mark, the label could have come up with the idea of sticking on a warning sticker instead. But those are details that hardly affect the more than fulfilling feeling that takes hold of me after every listen to this superb album.
“Heavy Horses” is their last great masterpiece, a progressive folk rock classic and one of the best prog rock albums of the late 70s, one that all too often stays forgotten when their best achievements are being listed. I personally see it as a logical step up from the excellent predecessor, with which they once again outdid themselves and shut the mouths of all the nonbelieving doubters who were convinced they’d never reach, let alone surpass, the greatness of the previous masterpiece. With its rural magic, “Heavy Horses” nicely proves that long epics, dramatic climaxes and complexity are by no means the only guideline of quality progressive rock, and that the best creations are often found in small, seemingly modest drops. Sadly, the carefree creative times of this exuberant band of unruly musical farmers, who for many were at their best here, were soon over after the release of the excellent double live album “Bursting Out” (1978), because a cold wind blew onto the farm from the north, bringing frost and heralding “Stormwatch”, the last chapter of their folk rock trilogy.
Lineup
Ian Anderson – vocals, flute, acoustic guitar, electric guitar, mandolin
Martin Barre – electric guitar
John Glascock – bass guitar
Barriemore Barlow – drums, percussion
John Evans – piano, organ
David Palmer – organ, keyboards, orchestral arrangements
GUEST MUSICIAN:
Darryl Way – violin on tracks 2 and 8
Production
Ian Anderson
Track list
1. …And The Mouse Police Never Sleeps (3:13)
2. Acres Wild (3:26)
3. No Lullaby (7:55)
4. Moths (3:27)
5. Journeyman (3:58)
6. Rover (4:16)
7. One Brown Mouse (3:23)
8. Heavy Horses (8:59)
9. Weathercock (4:03)
Album length: 42:40
Bonus tracks from the reissue (2003):
10. Living In These Hard Times (3:10)
11. Broadford Bazaar (3:40)
