Author: Peter Podbrežnik
Artist: Jethro Tull
Label: EMI Records
Released: 1995
Rating: 4/5
The mischievous bearded old man in the pirate hat and his crew were surely none too happy with the general reaction of the crowd when “Catfish Rising” (1991) came out, a rather unnecessary and not very successful blues experiment meant as a kind of tribute to their musical roots. So Ian waved goodbye to the blues for good and on “Roots To Branches” went back to the musical form where he and the band had scored their biggest hits, been at their best and been most respected – progressive rock. A very wise decision, because after a lot of wobbling in quality and stylistic swinging in the 80s, and a rather unimpressive start to the 90s, the question was getting pretty serious: how much progressive charge did the band even have left, and could they still surprise anyone with something fresh? Since somewhere around “Stormwatch” (1979), Jethro Tull hadn’t made an album that, apart from a few tracks, came anywhere near progressive rock. It looked more and more like they’d settle into an average mix of folk and hard rock and shelve any ambition to dig up something unused and new. But on “Roots To Branches” a hugely positive turnaround finally happened in terms of musical innovation and freshness. After a long time, the band returned to a more progressive sound, a result of weaving elements of world music into individual pieces, more precisely oriental ethnic music, which had also started to strongly influence Ian’s solo career. The album is packed with Arabic scales, pentatonic musical forms and technically intricate passages, which in combination sound really fresh, especially compared to its pretty dull predecessor.
Two new members bring freshness too. Keyboardist Andy Giddings has been, in my opinion, the best choice behind the keys ever since John Evans left (he’d already appeared as a guest player on some parts of “Catfish Rising”). The old wolf Dave Pegg, who after more than 15 years decided to leave Jethro Tull so he could devote himself entirely to his main band Fairport Convention (he lent his services to only three tracks on the album), was replaced on bass for this record by the excellent American Steve Bailey, an academically trained bassist and otherwise a pretty in-demand session player. Bailey’s playing style was much more jazz-oriented than Pegg’s, and that came in handy for the band’s new sonic direction.
“Roots To Branches” is sonically one of the richest Tull albums ever, one where you can discover something new with every listen. They’ve successfully dressed up their traditional folk/hard rock finesse with oriental ethnic elements. And in the acoustic moments they shine no less than in the “electrified” ones. Of course, the core of their sound is, as usual, built on the interplay between Ian’s multi-instrumental skills, mainly on flute (he hasn’t treated himself to this many solos in ages), and the punchy, hard-rocking passages of a superbly in-form Martin Barre. The latter was, I bet, thrilled that he no longer had to squeeze back into the tight skin of a blues guitarist. Doane “big boy” Perry, the very definition of drumming massiveness and rock punch up to then, has here noticeably refined his strokes and his cymbal work in places, which until then had been pretty rock-oriented. Although they come from quite different schools, he and Bailey complement each other very well in the rhythm section. Ian’s excellent production deserves a special mention too. His lyrics are, if not exactly standard for him, once again mostly about social issues and a few personal experiences. There are noticeably fewer sexual allusions than usual, though at his more mature age Ian could slowly start to “get serious”.
That this album is once again something special compared to its predecessors is confirmed by the dramatic “Roots To Branches” itself, with its great interplay between flute passages and a punchy guitar riff forming an intriguing oriental motif. The mysterious, dramatic mood is eased a little by Giddings’ passages on Hammond organ and the other keyboards. Ian’s vocals haven’t sounded this sinister in a long time. Over the years the guy has learned to adjust his vocal color nicely to his vocal range, which has been pretty cut down since the mid-80s. “Rare And Precious Chains” sounds even more oriental, as it’s mostly built on pentatonic scales. While ambient keyboard textures create a dramatic backdrop, Martin dazzles on guitar by wandering through punchy oriental scales. It’s all tied together by Ian’s flute and a solid use of percussion. On “Out Of The Noise” they’re a bit closer to hard rock again, thanks to punchy guitar licks and Hammond organ passages, though witty flute passages and subtle piano bring in a breeze of folk. The motif formed by the interweaving of the central guitar riff and the Hammond calls to mind some of their 80s work. “This Free Will” carries the listener deep into the Orient again. Here Ian on vocals sounds once more like that good old master of sarcasm. Besides the punchy rhythm and hard riff, you get a surprise in the form of very tasteful symphonic arrangements, which interact with the flute to create a mysterious atmosphere. If there were a muezzin yelling in the background, this could even be a big hit somewhere like Tehran, where the vast majority of rock music is otherwise banned.
“Valley” contains a minor sexual allusion (what else could the opening line “wake in the morning, see the young girl milking” be?), even though it’s supposedly about the tragic events in the Balkans at the time. It opens with an introductory flute solo, after which a tasteful acoustic melody on Ian’s acoustic guitar kicks in. That’s followed by a series of complex sections and unexpected transitions. The chorus is pretty average, but a very good acoustic guitar melody and gorgeous flute passages win you over, and they’re again among the better ones the Scottish “vagabond” has used in recent years. Straight after a flute solo comes the very good, passionate “Dangerous Veils”, an effective combination of speed, technical skill, punch and subtlety. Besides the cranked-up tempo, bristling riff and sly flute, Ian’s heartfelt vocal performance is worth admiring too. The instrumental section is very strong here, with great solos on piano and guitar while Ian again fires off real flute bursts. The lyrics are another rather transparent sexual allusion, evidently touching on Ian’s fantasies about veiled Arab women. “Beside Myself”, about Ian’s impressions after visiting Indian Bombay, is one of the best pieces on the album and even a good candidate for a Tull classic. After a lovely acoustic intro and calm vocals comes a very good transition that continues at a measured tempo. Then come some good symphonic arrangements and an interplay between a punchy riff and flute while the piano creates a melancholy mood. That’s over when a punchy oriental motif kicks in, with an incredibly electrified guitar riff and sly flute weaving together in harmony. The only things that bug me a little here are that the central line gets repeated so many times, and that Ian’s vocals occasionally sound slightly tired. The last four tracks calm down the album’s mood, which had been quite energetic until then, and offer a retrospective, lyrical reflection.
I really hope that when writing the lyrics for “Wounded, Old And Treacherous” Ian wasn’t thinking of himself but of his alter ego Aqualung. After a pleasant intro on flute and piano comes a build-up on ambient keyboards and drums, hinting at a dramatic transition. Yet what follows anyway is a calm rhythm, narrative vocals and a barroom atmosphere. A rather successful mix of folk, ambient and hard rock with numerous tempo changes and witty flute passages, plus good work on cymbals and keyboards. The closing instrumental section is dreamy, a real treat for all fans of progressive folk rock, lifting the overall mood of the track up at least one notch. “At Last, Forever” has an almost “Christmassy”, traditional intro on piano, xylophone, flute and acoustic guitar, which together form a fragile, melancholy melody. As for the lyrics, it’s one of the very rare elements in Jethro Tull’s musical expression – a lyrical, confessional ballad. If I set the lyrics aside (Ian is one of the last musicians I’d picture as a singer of love ballads), it’s a very good piece full of excellent, complex instrumental sections: from tasteful symphonic flourishes, playful flute passages and punchy riffs to a dynamic rhythm line. The symphonic arrangements in particular are among the best they’ve made since the end of the 70s. “Stuck In The August Rain” is another example of a subtle folk-rock ballad with lovely symphonic arrangements and perfect harmony between the individual instruments. I especially like the intriguing, mysterious motif that drops in amid the interweaving of guitar and keyboards. Definitely one of the most charming pieces on the album. But the track that touches the listener’s emotions most is the closing “Another Harry’s Bar”, which, through a metaphor about an abandoned bar where an old dog sleeps, symbolizes memories of this indestructible band’s early years and stirs up nostalgia. For most of its length it has a very simple structure built on a melancholy melody created by acoustic guitar, piano, a touch of flute and heartfelt vocals telling of a deserted venue, then it moves into a completely unexpected, superb instrumental section where guitar, rhythm section and flute interact to form a dreamy melody. A very good finish to their best album since the end of the 70s.
Probably not even the most devoted fan expected such a good album when it came out, from the hands of legends who were by then a little rusty and no longer young. In my opinion Jetro Tull hadn’t made an album as good as “Roots To Branches” since the end of the 70s, or at least since “A” (1980), and Ian himself counts it among the best and most pivotal moments of their career. By his account, that also applies to the playing and the chemistry between the musicians while it was being recorded. “Roots To Branches” was eloquent proof that Jethro Tull were very much alive and had no intention of giving in to further stagnation of their sound. Even though in the following years Ian would devote himself more and more to his solo career and push the band onto a side track, this was the album that restored old fans’ faith in Jethro Tull as one of the main innovators in the history of progressive (folk) rock. “Roots To Branches” was a triumphant return to the old prog standards by one of the few survivors of the old age of progressive rock, who, despite the burden of years, were still capable of surprises and surely delivered one of the best rock albums of that year.
Line-up
Ian Anderson – vocals, flute, bamboo flute, acoustic guitar
Martin Barre – electric guitar
Dave Pegg – bass guitar on 3, 5 and 11
Doane Perry – drums, percussion
Andy Giddings – keyboards
GUEST MUSICIAN:
Steve Bailey – bass guitar on 1 and 6 – 9
Production
Ian Anderson
Track list
1. Roots To Branches (5:12)
2. Rare And Precious Chain (3:35)
3. Out Of The Noise (3:25)
4. This Free Will (4:05)
5. Valley (6:08)
6. Dangerous Veils (5:35)
7. Beside Myself (5:51)
8. Wounded, Old And Treacherous (7:50)
9. At Last, Forever (7:55)
10. Stuck In The August Rain (4:06)
11. Another Harry’s Bar (6:22)
Running time: 60:04
