Customer Reviews

Secret Language of Birds

5 star:		(87)
4 star:		(13)
3 star:		(1)
2 star:		(3)
1 star:		(1)

 

 

This is adapted from a draft of my forthcoming book JETHRO TULL: A MUSICAL GUIDE, with the participation of Ian Anderson, Dave Pegg and Doane Perry [copyright 2000 Scott Allen Nollen]:

Simply put, THE SECRET LANGUAGE OF BIRDS is arguably the most consistently superb album Ian Anderson has released in a 32-year recording career. All 15 tracks are equally impressive, blending his ethnic influences-English, Celtic, Indian/Middle Eastern, Spanish, Russian (no African-American blues this time)-with lush acoustic arrangements incorporating folk, jazz and laid-back, primarily non-electric rock. (Two tracks feature subtle electric contributions from Martin Barre.) Reaching back to the days of MINSTREL IN THE GALLERY, SONGS FROM THE WOOD, HEAVY HORSES and STORMWATCH, he offers exactly what he does best, at times (beautifully accompanied by Andrew Giddings on accordion) sounding like the greatest of all traditional Scottish folk groups-Silly Wizard, the Tannahill Weavers and the Old Blind Dogs-yet maintaining a style that is totally unique. The only classification that can be placed upon this music is that it falls within the genre of "Ian Anderson."

The entire album is testament to the fact that Ian Anderson's roots in ethnic music always have given him the potential to create an organic, utterly non-commercial masterwork such as THE SECRET LANGUAGE OF BIRDS. For admirers of traditional music, particularly Celtic, and fans of Jethro Tull, this project, even moreso than SONGS FROM THE WOOD and HEAVY HORSES, reveals Anderson's genius for merging past musical styles with wholly modern ones. On this album, he takes the musical fusion process he honed with Jethro Tull for three decades and moves it to a higher, more refined plane. THE SECRET LANGUAGE OF BIRDS, containing 15 equally fine tracks, staggering musical diversity and virtuoso playing by both Anderson and Giddings, is a bona fide masterpiece and a gift to fans of Jethro Tull.

Although I am a dedicated fan of Jethro Tull I was lackadaisical about purchasing the new Ian Anderson solo album. Perhaps it's the chequered history of Mr. Anderson's solo efforts (I enjoyed "Divinities," but it isn't something that would make you rush out to get it). Perhaps it was having heard the title track as an extra track on Dot Com (a very nice piece, but not really as impressive as the ending songs on the Tull album). So after accidentally hearing a track on the radio one day (it was "Postcard Day"), I cruised onto this site and was astounded by what I saw here.

Now we Tull fans are a dedicated cult, no doubt. But never had I seen such unanimity of opinion about one of their albums. Even the fans of "early Tull" (the hard-rockers) have never heaped such effusive praise on "Stand Up" as I found here. So I devotedly submitted my order for this CD, thinking that someone (or many someones must be nuts). I mean, how else can you explain the hyperbole of one reviewer describing Mr. Anderson as the late-20th century Mozart? (I'm sure he cringes at that one).

Now I've listened to the CD a half-dozen times. (Don't you love those reviewers who claim to listen to part of a CD once and swear never to listen again, and then write a review about music they never bothered to learn? They should be sentenced to three-chords and a cloud of noise for the rest of their natural lives).

Mea Culpa.

Maybe the aforementioned reviewer was guilty of some hyperbole, but then how else can you explain the profusion of vibrant melodies that spill off of this CD? That such variation of texture and depth of sound can be produced from such modest means can leave me only to conclude that true genius was at work: Mr. Anderson's is apparent by this time, however, Mr. Giddings must be similarly commended for his remarkable contributions. Has their ever been another member brought to Tull by Mr. Anderson, in all the band's long history, who has shown such versatility as we hear in Andrew Giddings?

It is difficult to pick out high points in this CD only because there really isn't much that doesn't qualify as a high point. "The Little Flower Girl" with its Spanish melodies and story-line about a favorite watercolour painting and "Montserrat," the wry and biting story of the island that literally blew up ("toast tomorrow, if not, today") and containing snippets of military marches buried in the melodies, are standouts early in the CD. I certainly hope you like "Postcard Day" because its primary melody (carried by the flute) is so catching that you'll find it in your head at various odd moments of the day. It won't leave you be. But do I detect in this song that Mr. Anderson's vocal is just a tad out of key?

Never have I seen, even in the best of Tull albums, a run of magnificent songs like is found in the middle part of this CD. There is the slow, sweltering "A Better Moon" in which the refrain line works to both gently relieve the building tension in the melody and act as a powerful hook at the same time (a gentle form of what occurs in "Come Together"). Then we come to "Sanctuary", which according to the liner notes was a difficult song for Mr. Anderson ("made me cry"). He earned the tears. It is as fine and beautiful a song as he's ever written. More poignantly sad than "Flying Dutchman." More ethereal beauty than is found in even "And Further On" or "Stuck in the August Rain". Simply the brightest star in a vivid constellation.

If "The Jasmine Corridor," which follows, radiates any less beauty than the previous song, it is by a margin far too narrow to measure. I can almost guarantee that you will not be able to get "Panama Freighter" out of your head. Andrew Giddings just shines in this wonderfully melodious, offbeat story of Caribbean travel.

The end of the album includes a couple of fanciful instrumental tracks which, especially in the case of "The Stormont Shuffle," are very much in the spirit of "Warm Sporran." It's a nice touch - something we haven't heard in nearly twenty years.

To say I am stunned by this CD might be a little stretch - there is no logical reason why great musicians should lose their ability with age (a stupid youth culture notion that has gone on way too long). And Tull has produced some of their best works in recent years. But for whatever dumb reason, I can certainly say that I was never expecting anything as astounding as this. But then when a true classic comes along, it always takes you by surprise.

Brilliant. It's simple - the man is brilliant. What can I say? Ian Anderson is a modern legend and an underappreciated innovator. He's eloquent, intelligent and worthy of praise. BUY THIS CD! The definite hook for me on this one is Boris Dancing; wonderful time work, interesting moves... an amazing track. The two Secret Language of Birds tracks also work well. Subtle sonic textures, mellow motifs hark back to Ian's Divinities offering. Quaint, intelligent, subversive, questioning, inspirational lyrics are a continuing mark of Ian's songwriting. While I can't say that I have always loved every single song he has had a part in making, I can tell you that many times the lyrics have endeared the songs to me whereas I had been initially put off by other factors. But this CD is all Ian - all beauty and artistic sensibility. If there was any fear that Ian Anderson/Jethro Tull had lost their fire, this CD and the J-Tull dot Com CD must be final proof that they are better than ever. Kudos goes out to Andrew Giddings as well, a wonderful asset to all that is Tull. Great work on Divinities, dot Com and TSLOB, Andy! And here's to many more years for Ian and the boys!

This CD will appeal to you no matter who you are. If you have never heard of Ian Anderson or Jethro Tull, and have no frame of reference, you will love this collection of songs. On the other hand, if you approach this work with ears educated by repeated listenings to classic Tull, you will love this collection of songs. The writing, the playing, the lyrics, the pacing, the consistency - it's as if Ian is applying everything he learned in the past 39 years with a delicate and deliberate prowess.

Here's where I'm coming from. The very first LP I owned was Thick As A Brick, (my second was Aqualung) back in the early 70s. I was a diehard fan then, but in the intervening years I lost my interest in what Ian was doing. He had lost his way, I thought, even imitating Dire Straits on Crest of the Knave. I drifted away.

When he started to lose his voice I could see it was all coming to an end. Divinities seemed to prove that. It was a fork in the road that led away from the past forms into serious stuff that tried but failed to light my candle.

So how did my prediction of the end work out? Not just wrong but 180 degrees from right! Dry those tears, boy and shout for joy! Ian must have been saving up great melodies for this release. Plus his flute and guitar playing has never impressed me more.

The Secret Language of Birds is everything I like in his music without the bits in previous recordings I sort of wish he left out. This recording is fresh, lush, and alive.

Clearly Ian's well is not dry. My only regret is not discovering this earlier (I didn't want another Divinities so I stopped shopping in that aisle). Don't make that same mistake.

I strongly urge you to buy this CD immediately.

If you are a loyal Tull fan, please spread the word. Play it for your friends.

No exaggeration here. I'm going to send a copy to the Queen of England. Like certain other aging rock stars,Ian deserves a knighthood for past service to his country. Unlike Sir Elton, Sir Mick, Sir Paul and Sir Eric, however, Ian is producing new music that is simply excellent. It truly speaks for itself.

I've figured out what I'm getting my relatives and friends for Christmas. I'm getting them this miracle.

This may be the best "Tull" album in years! (No offence, Martin!) I must admit, I've always preferred Ian Anderson's acoustic sound. Although I certainly do enjoy the occasional rock out, the lighter, more rustic element has been somewhat lacking in recent Jethro Tull efforts. On this album, Ian not only offers a return to that pastoral feeling, but he updates it with his seemingly recently acquired interest in ethnic music from further afield. But don't worry. There are plenty of "songs from the wood" to be had here!

Ian's voice (which has been a bit ragged on those recent Tull albums) has improved dramatically in the last year or two, and is used to great effect here. The songs are beautiful. This is an album of those quieter ones that proved to contrast wonderfully with the rockers from the70's. But don't get me wrong! This IS all new material. (Except perhaps for a little treat amongst the bonus tracks!)

If you're not familiar with Jethro Tull but you like beautiful acoustic music based in English folk and with heavy emphasis on the FLUTE, try this. It's good stuff. If you're a Tull fan who like me has been missing that rustic "something" lately, this is an absolute necessity. Go for a hike in the woods, then come home, light a fire in the fireplace, pour yourself a pint, then pop in this cd, and you'll see what I mean...

I bought this CD sometime in 2000 and it has hardly left my CD player since. This is some of the best stuff Ian Anderson has ever written.

I won't bother commenting on the content because so many other reviews have already done so. I would like to add one thing, though, for the benefit of potential buyers who may not know what to make of some of the other reviewers' comments on Anderson's voice.

As most Tull fans know, Anderson suffered some serious throat problems in the early 1980s, and there were grave medical concerns that he would never be able to sing again. Well, he came back strong on _Crest of a Knave_, but the timbre of his voice had permanently changed.

So he's adapted. The material on this CD is well-suited to his "new" voice -- but he doesn't quite growl and roar the way he used to, and occasionally he sounds almost as though he's whispering. On these songs, IT WORKS. But he doesn't sound the way he did on _Minstrel in the Gallery_, _Songs from the Wood_ and _Heavy Horses_ (my own favorite Tull period). About the closest he comes to really cutting loose is on _Panama Freighter_ (also the tune that, to my mind, is the most "Tull-like").

The songs themselves are just marvelous, and this CD is the acoustic Ian Anderson album lots of us have been waiting a long time for. Andrew Giddings does a nice job of musical support all around. Highly recommended.

Cut to the chase: I believe that this album is the finest collection by any British "folk" / singer songwriter ever. By any measure The Secret Language of Birds is a masterpiece.

I've been seriously listening to music for nearly 30 years. In that time I have developed a deep appreciation of British songwriters in all genres Lennon & Macartney, Ray Davies, Davy Graham, Donovan, Bert Jansch, Alan Hull, Nick Drake, Pete Townshend, Maddy Prior, Roy Harper, Van Morrison, John Martyn, Christie Moore, David Bowie, Morrissey, Ian Dury, Paul Weller, Andy Partridge, Julian Cope, Bernard Butler, Thom Yorke, Noel Gallagher, Beth Orton etc etc.

I respectfully suggest that after 28 years, I know a good album when I hear one and I have no hesitation in saying, again, that The Secret Language of Birds is the finest British "folk" or singer/songwriter album of all time.

This was the best album released by Ian Anderson or Jethro Tull in 20 years. Not that there hasn't been some worthwhile stuff over that time ("Roots to Branches" in particular), but it's mostly been hit-and-miss... a few exceptional songs here and there, but no truly great albums - until this one. If your taste in Tull includes albums like Thick as a Brick, Songs from the Wood, and Broad Sword with their heavy acoustic and British folk underpinnings, this is for you. If, on the other hand, you prefer the hard electric riffs of albums like Aqualung and Benefit, this isn't the place to look.

This may be the solo CD every Tull fan has been licking their lips in anticipation of. Andersons prior solo effort "Divinities : 12 Dances with God" was good, (and also featured Andy Giddings) but was more keyboard based, this one has more of a folky feel, with most songs structured around Andersons acoustic guitar, flute, and Giddings flavoring the tracks with various sounds from the keys. The title track was included on Tull's most recent release as a bonus, and was instantly one of my favorites from that disc. With its intricate instrumentation and excellent melodies, this one should be a classic at least in the Tull family, as we know this will not get to radio. "The Little Flower Girl" reminds me of "Songs From The Wood" era, as do a few others. The Mid-Eastern sounds that have permeated the last 2 Tull releases find there way here on tracks like "The Water Carrier". A dark mystical feel to "A Better Moon", which breaks things up nicely along with two instrumentals ("Boris Dancing & The Stormont Shuffle") In the back of the book, Ian devotes a sentence or two explaining the thoughts behind each track which is interesting to read while listening. There is a track from "Divinities" and a version of the classic "Thick As A Brick" as a little treat at the end. Anyone who enjoys Tull tracks like "Mother Goose" and "Nursie" as examples should love this, there is plenty of flute, guitar and Andersons tales. An excellent CD from an underappreciated songsmith.

This excellent disc is full to the brim with beautiful melodies. Each song is a treasure trove that bears repeated listenings, but I found them all immediately rewarding as well. Ian's voice suits the songs well, his flute playing is absolutely beautiful and accomplished and his acoustic guitar work is, as always, a joy to hear. One complaint: I wish some of the songs were a bit more sparse. The orchestrations occasionally overwhelm, feeling more intrusive than supportive. In other words, sometimes the meal is a bit too rich for my palate. But overall, I would call the album a masterpiece, and one that's difficult to categorize. As a recent (positive) review in the British music magazine Mojo said regarding Ian Anderson: there's no one quite like him. And I would add that there's nothing quite like this beautiful music either.