Author: Peter Podbrežnik
Artist: Jethro Tull
Label: EMI Records
Release: 1972
Rating: 5/5
After the classic “Aqualung” (1971), which transformed Jethro Tull from a cult band into a world-class act, the many eyes of the (prog) rock world were fixed on Ian Anderson and his cunning crew of musical perfectionists and innovators. Not for a second did they rest on their laurels; instead, they cooked up another one-of-a-kind 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 bunch: make an ultra-complex and at the same time cheeky, provocative album like nothing the rock world had seen before, one that finally cemented Jethro Tull in the club of progressive rock heavyweights, even though they themselves couldn’t have cared less about the label.
“Thick As A Brick” is their first real concept album. Although some people spot traces of a concept all over “Aqualung”, according to Ian it never had one. What’s more, by Ian’s own account, “Thick As A Brick” came about as a response to what he considered totally unjustified chatter about a supposed concept on “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. This time, too, the lineup from the previous album didn’t stay in one piece, as there was an important change behind the drum kit. Original drummer Clive Bunker was replaced by the excellent Barrimore Barlow, Ian Anderson’s old musical sidekick from 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 moment, as his varied keyboard solos and arrangements fill the entire album. What impresses most is precisely how varied they are. The eternally overlooked Martin Barre is once again a master of guitar finesse, inventive riffs and timing. The wonder-working flute-blower, multi-instrumentalist and then some, Ian Anderson, of course runs the whole show and ties everything together. His extremely intelligent and sarcastic lyrics reached their peak here. And of course the band’s recognizable, folk-spiced sound is present the whole way through without restraint, in the flute work as much 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 mostly at British society), revolving around eight-year-old, above-average-intelligent boy Gerald “Little Milton” Bostock, who won a prestigious children’s poetry competition with his socially critical lyrics, which (imaginary, of course) can be found in the booklet inside this album. But after an extremely controversial decision, the conservative jury took the prize away from him. They branded the lyrics of “Thick As A Brick” as “obscure and offensive” to public morals. The conceptual non-concept is the basic joke behind the concept of “Thick As A Brick” and once again proves Ian’s remarkable knack for intelligent wit and satire, which is often on a par with British black comedies like Monty Python. This way the band managed to bridge art and comedy, an impressive and aesthetic demonstration of musical ideas around a basic 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 vividly displayed in the individual newspaper articles in the booklet, which are almost without exception outrageously grotesque. The concept is also revealed by the excellent cover, a 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 completely different approach compared to the previous album, which featured a string 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 lots 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 section, which kicks off with acoustic guitar and flute, is almost entirely acoustic and extremely serene. Then comes a 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. That’s followed by a first-rate guitar solo in Barre’s best style, who worked even more dynamics and a feel for variation into his playing. Then a new central theme kicks in, built on flute, organ and percussion. Here the organ takes center stage, once again confirming what a great and at the same time 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 splendid instrumental section, and throughout 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, mainly thanks to the calm vocals, percussion, piano and acoustic guitar. Soon after, the instrumental section returns, with a nice link between piano, bass and some tasteful arrangements on flute and acoustic guitar. At this point the first part of the suite (the first side of the record) wraps up with a very unusual riff, complemented by drums and organ.
The second part opens on flute and organ, all the way up to the entrance of the central theme (“See there, a new son is born”). This section features a great passage on Hammond organ, a mystical tinge and an impressive drum solo that shows off Barriemore Barlow’s incredible speed. Then comes that burlesque, goofing-around part where the instruments go off on a tangent three times over (violin, guitar, organ, etc.). Ian’s singing here is exceptionally strange, sounding almost like a tribute to the characters of British black comedies. When this short 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 also impressive here. 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 ends with the central refrain from the first section (“So you ride yourself all over the fields…”).
The reissue also includes an excellent 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 of the album’s release.
“Thick As A Brick” is a timeless prog rock masterpiece that has passed the test of time even after all these years and still stands as an unreachable standard for plenty of creative musicians who’d love to get close to the high bar Jethro Tull set back then. With an eclectic mix of hard rock, British folk music with classical influences and intelligent lyrics, Jethro Tull created a masterpiece that sends the listener to seventh heaven on every listen. “Thick As A Brick” is therefore without a doubt the best work in the band’s history, one that will keep glowing among the genre’s best albums for a long time and is an essential part of every true rock fan’s collection. It’s 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 singular manifestation of the era it was made 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, extremely complex and imaginative music landing at the top of the charts by accident? The album was and remains one of the milestones in the history of rock music.
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
Production
Ian Anderson
Track List
1. Thick As A Brick – Part 1 (22:39)
2. Thick As A Brick – Part 2 (21:05)
Album length: 43:44
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)
