Label: Chrysalis Records
Release date: 3. 3. 1972
Production: Ian Anderson & Terry Ellis
Album length: 43.46 min
Genre: Progressive Rock
Rating: 10/10
After the classic “Aqualung” (1971), which turned Jethro Tull from a cult band into a world-class act, countless eyes in the (prog) rock world were fixed on Ian Anderson and his cunning crew of musical perfectionists and innovators. They didn’t rest on their laurels for a second, though, and cooked up another singular surprise that shocked the music world with its ambition, grandeur and depth. How do you top a masterpiece like “Aqualung”? Easy for a musical genius like Ian Anderson and his bearded, mustachioed gang: make an ultra-complex yet cheeky and provocative album, the likes of which the rock world had never seen, and with which Jethro Tull finally signed themselves into the club of the big names of progressive rock, even though they themselves couldn’t have cared less about the label.
“Thick As A Brick” is their first true concept album. Although some people pick up on traces of a concept already on “Aqualung”, according to Ian it never had one. What’s more, Ian says “Thick As A Brick” came about as a response to what he saw as completely unwarranted chatter about a supposed concept behind “Aqualung”. So his main goal was to finally make the “mother of all concept albums” and shut all the speculators up once and for all. Once again the lineup from the previous album didn’t survive in one piece, as there was an important change behind the drum kit. Original drummer Clive Bunker was replaced by the excellent Barrimore Barlow, a former musical buddy of Ian Anderson’s from the days before Jethro Tull even existed, who brought even more jazzy dynamics along with extra speed and energy. “Thick As a Brick” is probably keyboardist John Evans’ finest hour, as his varied keyboard solos and arrangements fill the entire album. It’s the variety that impresses most. The forever overlooked Martin Barre is once again a master of guitar finesse, inventive riffs and timing. The miracle flute-blower, multi-instrumentalist and so much more, Ian Anderson, naturally runs the whole show and ties everything together from one end to the other. His exceptionally clever and sarcastic lyrics reach their peak here. Of course, the band’s trademark, folk-spiced sound is present the whole way through without restraint, on the flute as well as in the acoustic passages. This lineup proved to be one of their most stable, if not the best.
The story of “Thick As a Brick” is first-rate social satire (aimed mainly at British society), revolving around eight-year-old, way-above-average-smart boy Gerald “Little Milton” Bostock, who won a prestigious children’s poetry competition with his socially critical lyrics, which (imaginary, of course) are found in the booklet inside this album. But after an extremely controversial decision, a conservative jury stripped him of the prize. They branded the lyrics to “Thick As A Brick” “obscure and scandalous” to public morality. The conceptual non-concept is the basic joke behind “Thick As A Brick” and proves once again Ian’s extraordinary knack for sharp-witted insight and satire, which is often on the level of British black comedies like Monty Python. This way the band managed to bridge the gap between art and comedy, between an impressive and aesthetic demonstration of musical ideas around a central theme and self-satire. Ian’s mockery and boundless cynicism toward the proverbial hypocrisy and class divisions of British society, especially the upper class, are also vividly shown in the individual newspaper articles in the booklet, which are almost without exception outrageously grotesque. The concept is also revealed by the superb cover with the newspaper clipping from “The St. Cleve Chronicle”, showing the central event where the jury takes the prize away from Bostock. That cover remains one of the most original sleeves of all time.
“Thick As A Brick” is a suite split into two parts, which on its own signals a totally different approach from the previous album, which was made up of a bunch of mostly shorter pieces. It was split into two parts, or two sides, mainly because of the time limits of vinyl back then. Even though it’s dominated by high complexity with loads of section and arrangement changes, the overall vibe of “Thick As A Brick” is incredibly light, melodic and flowing, and the listener doesn’t even notice when the album suddenly flips over. The opening part, which kicks off with acoustic guitar and flute, is almost entirely acoustic and incredibly serene. Then comes the punchy part that returns several more times in the suite (the verse “See there, a new son in born”) with excellent drumming (which, by the way, is at an enviable level throughout the whole album), a hard-hitting, electrified guitar riff, bass, and a great solo on organ and saxophone. This is followed by a first-rate guitar solo in Barre’s best style, who worked even more dynamics and a sense of variation into his playing. Then a new central theme arrives, built on flute, organ and percussion. Here the organ is front and center, once again confirming what a good yet underrated keyboardist John Evans is, along with plenty of variations and great interplay between guitar, flute and organ. Bassist Jeffrey Hammond, who is excellent throughout the album, shines in full light here. After that comes a brilliant instrumental section, and through the whole theme a gorgeous passage unfolds between piano and organ, and then between organ and flute. Then, for a short stretch, there’s a great organ solo and an outstanding guitar riff. The music then picks up a folk tinge again, mostly thanks to the calm vocals, percussion, piano and acoustic guitar. Soon after, the instrumental section comes back, with a nice link between piano and bass and some tasteful arrangements on flute and acoustic guitar. At this point the first part of the suite (the first side of the vinyl) wraps up with a really unusual riff, complemented by drums and organ.
The second part opens on flute and organ, all the way up to the central theme (“See there, a new son is born”). This section features a great passage on Hammond organ, a mystical touch and an impressive drum solo that shows off Barrie Barlow’s incredible speed. Then comes that burlesque, jokey part where the instruments wind down three times (violin, guitar, organ, etc.). Ian’s singing here is exceptionally strange, sounding almost like a tribute to the characters of British black comedies. Once this little comedy bit is over, the band’s folk side steps back into the spotlight with extensive use of acoustic guitar and flute as well as organ, and above all gorgeous arrangements on acoustic guitar and mandolin. Ian’s deeply emotional singing is impressive here too. Next comes a passage on flute and organ, great guitar riffs and plenty of variations. Another instrumental section follows, marked by flute, brilliant drumming, guitar and harpsichord, followed by variations on organ and flute. To close, the band brings back the last section of the first part, this time with a new variation featuring organ and lovely violin arrangements. The masterpiece wraps up with the main refrain from the first section (“So you ride yourself all over the fields…”).
The reissue also includes a great live version (shortened, of course) of “Thick As A Brick” from 1978, recorded at Madison Square Garden (New York), plus an interview with Ian Anderson, Martin Barre and Jeffrey Hammond, conducted around the time the album came out.
“Thick As A Brick” is a timeless progressive rock masterpiece that has stood the test of time all these years later and still remains an unattainable benchmark for plenty of creative musicians who’d love to get anywhere near the lofty standards Jethro Tull set back then. With an eclectic blend of hard rock, British folk with classical influences and clever lyrics, Jethro Tull created a masterpiece that sends the listener to seventh heaven with every spin. “Thick As A Brick” is therefore without a doubt the best work in the band’s history, one that will keep shining among the best albums of the genre for a long time and is an indispensable part of every true rock fan’s collection. It’s also worth mentioning that on release the album shot straight to number one on the American charts and number five on the British ones, which is a real manifestation of the era it was born in (the golden age of progressive rock and creative rock music in general). Can anyone today even imagine a piece of more than 40 minutes of interconnected, hugely complex and imaginative music landing at the top of the charts by chance? The album was and remains one of the landmarks in the history of rock music.
Author: Peter Podbrežnik
Tracklist:
1. Thick As A Brick – Part 1 (22:39)
2. Thick As A Brick – Part 2 (21:05)
Bonus tracks on the reissue (1998):
3. Thick as A Brick (live at Madison Square Garden 1978) (11:48)
4. Interview with Ian Anderson, Martin Barre and Jeffrey Hammond (16:28)
Lineup:
Ian Anderson – vocals, flute, acoustic guitar, violin, saxophone, trumpet
Martin Barre electric guitar, lute
Jeffrey Hammond – Hammond – bass, narration
John Evans – organ, piano, harpsichord
Barriemore Barlow – drums, timpani, percussion
GUEST MUSICIAN:
David Palmer – orchestral arrangements
