Customer Reviews

Stormwatch

5 star:		(36)
4 star:		(21)
3 star:		(5)
2 star:		(0)
1 star:		(7)

 

 

It was late autumn of 1979 and Tull was on tour again. I was sitting in some nondescript seats in the nosebleed section of the Pittsburgh Civic Arena (owing to my meager student's living wages) waiting to see my favorite band in the world. The stage was a setpiece of ship's rigging cast in blue and green lights -very dark and oppressive. The band was on a low note, as John Glascock had recently died and they were touring with a substitute bass player. As if that wasn't bad enough, an announcer came on stage to introduce the band, stating that J.T. had cancelled their last three shows because some idiot had thrown a glass bottle on the stage and a piece of glass had gotten into Ian Anderson's eye. Be warned!, this was their first night back and they weren't going to put up with any nonsense. The band took the stage to thunderous applause, and a bespectacled Ian came forward playing a flute intro. Not two minutes into the show, another moron threw a bottle onto this stage, and quick as a flash - Ian stopped the show! He clearly was pissed, and threatened to leave right away unless somebody pointed out who threw the bottle and had them expelled. Obviously, the jerk was quicky ushered out and the band was ready to start again, but not before David Palmer gave a proper dressing down to the audience, telling us all we'de better f***ing well sit in our seats and listen! What a start to the night!

Well, the show went on very nicely from there, a great set that closely matched the "BURSTING OUT" album with some of the new songs scattered throughout. The band, consumate professionals all, played flawlessly, and the left the crowd satisfied, but it is no wonder Ian and Martin look back at this album and tour as a kind of dark period in their history.

The album itself has a darker mood; the last album of the 70's, and the last Tull album for Barlow, Evans and Palmer. Moving subtley away from the folkish and dealing with more worldly and political themes, the album is an examination of the troubled times in which we were all living. But don't be put off by this darker mood, there are some GREAT tunes on this disc. The highlight for me was the evocotive DUN RINGILL, but other absolutely stunning tunes include SOMETHING ON THE MOVE, ORION, FLYING DUTCHMAN, and NORTH SEA OIL. The original album ended with David Palmer's sad but beautiful ELEGY, a song fittingly marking the end of an era.

The bonus tracks on this edition include CROSSWORD, with some rocking guitar licks by Martin Barre; KELPIE, a more folkish tune with a rollicking flute passage that frequently finds it's way into Ian's solos even to this day; and KING HENRY'S MADRIGAL, another David (Dee) Palmer instrumental piece that really showcases the band's impressive playing abilities.

As I said, a dark album, but satisfying nonetheless and worth every penny.

I've been waiting for the remastered CD of this one for a long time. I had the original vinyl but managed to miss out on the earlier CD release, which I guess was available for about a week and a half sometime in the 1990s. At any rate, it's long been one of my three favorite Tull releases. Guess which ones are the other two.

Of course they're this one's two predecessors in Ian Anderson's 'English countryside' trilogy. He exuberantly and bawdily celebrated that countryside on _Songs from the Wood_, and took a hard-eyed look at its pragmatic realities on _Heavy Horses_; here, he rather gloomily presided at its funeral. And this is without doubt one of the darkest entries in Tull's long catalogue.

That's not only because it was devoted in large measure to environmental concerns. (Note to youngsters: in those pre-'greenhouse' days, the environmentalists' forecast du jour called for a new ice age.) It's also because this release marked both the end of the great 1970s Tull lineup and the impending death of bassist John Glascock. (Glascock had recorded just three tracks for this album before Anderson benched him for health reasons -- and took over the bass duties himself, unsurprisingly doing an altogether fine job.) The funereal atmosphere here is eerily appropriate to the developments in Tull's real-world life -- including especially David (now Dee) Palmer's majestic 'Elegy', which is easy to hear retroactively as a tribute to Glascock (even though it obviously wasn't originally intended as such).

_Stormwatch_ is great to have on CD. Even though I haven't had the vinyl in years, I still know every word and note of all my old favorites (especially the haunting 'Dun Ringill', but all the rest as well).

As I said, I didn't have the earlier CD release, so I can compare this one only to the vinyl LP. And as with the earlier remasters, there's a tremendous wealth of sonic detail here that was worn off the vinyl long ago. There's lots of nice work by the entire band here; in addition to the excellent performances we know to expect from Martin Barre, the remastering brings out e.g. some nice pianistics by John Evan and Palmer's fine string arrangements. But as on _Heavy Horses_, the main beneficiary is percussionist Barrie Barlow, whose work is _so_ subtle that it was the first stuff the needle scraped off. (Another note to youngsters: when Anderson sings that he's 'a needle on a spiral in a groove', he's referring to an ancient technology that irremediably damaged musical recordings through the mere process of playing them.)

Other comments have suggested that transient peaks may have been lost by recording these remastered tunes at too high a volume level. I can't tell from the sound (again, no earlier CD to compare it to) -- but as I watch the spectrum display I do see those levels peaking out alarmingly often, so there may well be something to this claim. Caveat auditor.

The extra tracks are nice too (and two of them are available on other Tull collections), but I won't comment on them since I assume no one is buying this CD especially for those. Me, I'd have paid the same price even if they hadn't been there at all.

This is definitely one of those titles in the Tull catalog that the fans feel strongly about. As I write this review, all of the other reviews currently posted are either 5 stars or 1 star reviews.
This is one third of Tull's late 70s output and the three albums released in 1977-79 represent kind of a trilogy for me, although they really don't relate to each other in any real or intentional way. Each of the three albums seems kind of seasonal to me, with 1978's "Heavy Horses" giving me a definite summer feel, 1977's "Songs From The Wood" feeling very autumn-like, and the lyrically dark and icily imaged "Stormwatch" from 1979 representing the cold, dark winter.
Anyone reading this probably already knows how they feel about the music, and my 5 stars obviously shows how I feel, so I'll just offer this information to any Tull fans who liked this album and are wondering whether or not to get this reissue. The mastering is much better than what was offered on the original CD release. Everything's cleaner and brighter and the music definitely sounds better than ever before. As with other Tull reissues, there are bonus tracks, the best here being the single "A Stitch In Time" and "King Henry's Madrigal" from the European "Home" EP. The booklet contains all of the lyrics, pictures of single and EP sleeves and concert memorabilia, and notes from Ian Anderson.
A first rate job from Chrysalis and Capitol.

THE BAND: Ian Anderson (vocals, flute, bass, acoustic guitar), Martin Barre (Electric/classical guitar, mandolin), John Evan (piano/organ), David Palmer (synthesizer, organ, orchestral arrangements), Barriemore Barlow (drums & percussions), John Glascock (bass guitar on "Flying Dutchman", "Orion" and "Elergy")... R.I.P.

THE DISC: (1979) Originally 10 tracks clocking in at about 34 minutes. This (2004) digital remaster adds 4 bonus tracks coming in at just under 48 minutes. Included with the disc is a 10-page booklet containing original album artwork, song titles/times, song lyrics, singles released including pictures, thank you's, and a 2-page written note from Anderson about the goings on at the time. All songs written by Ian Anderson (except "Elergy", by Palmer). Label - Chrysalis Records.

COMMENTS: What a great way to end the decade for Tull. This is a sorely overlooked album... and a classic in my book. All the nay-sayers stuck on classics like "Thick As A Brick" or "Aqualung" simply haven't given "Stormwatch" a chance. As others have stated, this is a dark album. While previous albums touched on women, folklore, fantasy, medieval themes, etc... "Stormwatch" seems focused on politics, current events, and the troubled state of the economy. Not to mention long time Tull bass player John Glascock's failing health and ultimate death during the recording of this album (died at age 28 from a congenital heart defect). When Glascock couldn't continue, Anderson took over the bass guitar duties - and played faultlessly. This would be the last Tull record for 3 others - Barlow, Evan and Palmer. Anderson himself states in the liner notes, "Stormwatch become the apt title... while being musically satisfying and embodying some of the band members' best playing, left us emotionally drained". A dark cloud indeed. As for the songs - each one is a gem. "Stormwatch" starts off with the 1-2 punch of mid tempo rockers "North Sea Oil" and "Orion" (both mild hits in the UK). "Orion" features Barlow's thunderous drumming, mixed with delicate acoustic guitar and orchestration weaved throughout. There are several simply beautiful songs... "Home" (about a man coming home from being out to sea), "Warm Sporran" (a soft patriotic type instrumental), Old Ghosts, and perhaps the real diamond in the rough - "Dun Ringill" - my favorite on the album AND one of my favorite Jethro Tull songs in their entire catalog. "Something's On The Move" features a great jam at the end (only to fade out), leaving me wishing this 4-and-a-half minute song was longer. The other gems here are "Flying Dutchman" (simply a great song with a great melody), and the 9-minute "Dark Ages" (fast and slow, up and down and some of Anderson's best flute playing on the album). The bonus tracks are worthy of being included here... "Kelpie" sounds like it could've been take from "Songs From The Wood", as well as "A Stitch In Time " being taken from "Warchild - both very good songs. Please give this album a chance... Tull fans need "Stormwatch" in their collection (5-stars).

If you like late 70s Jethro Tull (i.e. Heavy Horses, Songs From the Wood) and haven't tried Stormwatch, I think you will be happy to add this to your music library. Stormwatch is similar in overall style to what Tull was doing at that time, before the more techno sound of "A" and "Underwraps". It includes short, more accessible tracks along with the longer, more complicated numbers that are characteristic of Tull's work during this period.

Stormwatch opens with the fun and lively "North Sea Oil." "Orion" is a different sounding track. It is a rather delightful melody in its verses but the chorus has a very powerful, rich sound. "Home" is probably one of the more accessible tracks, under 3 minutes and a relaxing, introspective song. I don't care for the cutesy guitar riff after the chorus. It ruins the song for me. "Dark Ages" is 9 minutes long and is the most powerful track but it seems very repetitive because the often-sung six lines of the chorus. "Something's On the Move" is a jumpy little rocker and I found myself liking this more each time I heard it. Like "Orion", "Old Ghosts" has a different sound to it in places and more typical in others. In this case it is the spooky intro to the verses that makes this track very unique. The best track on this album, however, is definitely "Dun Ringill." The band must have agreed , because the spoken intro to the song is on the cover. It is only 2:37 and is beautiful and soothing. The album is worth the price for that song alone. Tull's other long, complicated track is "Flying Dutchman," clocking in at 7:42. This one I like very much. It is a ballad at times that builds up with the characteristic Tull changes with flute solos, etc. Ian Anderson's vocals on this track are wonderful, especially during the last singing of "Staring ghostly in the mirror." The last two tracks on the two sides (sorry, I still think in terms of vinyl) are instrumentals. "Warm Sporran," in particular, seems like a filler to me. Knowing how many quality tracks Jethro Tull leaves off their albums because they do not fit the overall sound or, according to the band, aren't good enough, it makes me wonder how much better this album could be. As it is, it's still a satisfying listening experience.

Although it is probably true that 1979 and Stormwatch was the end of an era for Tull (band members later being replaced and the slightly off-putting electronic noodlings of the eighties albums), they certainly went out with an unforgettable bang.

With the fantastic lineup of Ian Anderson, Martin Barre, John Evan, Barriemore Barlow, John Glascock and David Palmer, Tull produced a genuinely breathtaking celtic-tinged, seascape concept album. The thing that impresses me most about this record, is it's sheer scope and atmosphere.
With songs such as Dark Ages, Orion and Dun Ringill, you can almost feel the cold salt water and the twisting coastal winds against your face. Ian's voice is on top form here, with dark but beautiful melodies and without the gruffness of Heavy Horses. Also notetable is John Evan's piano work, which is put to very good use.

I think any Tull fan should own this record, and despite what others think, i genuinely beleive this to be one of Tull's best, and up there with the likes of Aqualung and Minstrel In The Gallery. So, give this record a chance and I'm sure you will be impressed!

Stormwatch seems to fly under the radar of most Tull fans. When I am in the mood for Tull, I often reach for other disks before I would grab Stormwatch. I am not sure why that is, Stormwatch is a very good album, the last of the 70's era Tull. The instrumentals on Stormwatch, Warm Sporran and Elegy, are fantastic! And the song Dark Ages is worth the price of the disk alone! I guess there just isn't anything that makes Stormwatch stand out like other Tull disks. If you are a Tull fan you have to own this one, if for nothing else that to hear John Glascock's last songs, and to hear Ian Anderson fill in on bass for most of the disk. Plus this is really the last Tull album that came out before plunging headfirst into the Keyboard and Synth heavy 80's. Stormwatch features some great songwriting by Ian Anderson and Ian's voice is very strong here. Jethro Tull is an amazing band, and almost every album is worth investing time in.

Jethro Tull went through a dark period of sorts making their 1979 album, "Stormwatch." For starters, the health of bassist John Glascock was failing due to a heart ailment, only allowing him to complete three tracks for the album, before Tull leader Ian Anderson took over the bass-playing duties for the rest of the recording (very sadly, Glascock passed away shortly after "Stormwatch" was released). Secondly, "Stormwatch" would also prove to be the last Tull album for longtime members John Evan on keyboards, Barriemore Barlow on drums, and keyboardist/orchestrator David Palmer. The end result is a somewhat darker Jethro Tull album, but it is nonetheless a great one, with some very powerful Tull music throughout. "North Sea Oil," "Orion," and the dramatic "Dark Ages" are all strong Tull rockers, "Dun Ringill" is one of Anderson's most haunting acoustic pieces, "Flying Dutchman" is a memorable tune, and the two instrumentals, "Warm Sporran" and "Elegy" are both excellent. And this remastered edition of "Stormwatch" includes four bonus tracks: the catchy single "A Stitch In Time" (one of the very few instances of Tull using female backup singers), "Crossword" (featuring fine electric piano by John Evan), the charming "Kelpie," and the great jig-inducing ditty, "King Henry's Madrigal." The band are in top form, and Anderson proves himself to be a mean bassist (who knew?). And, of course, the album is a fond farewell to the late, great John Glascock, who contributes fine basslines to Tull for the last time on "Orion," "Flying Dutchman," and "Elegy." "Stormwatch" is a somewhat overlooked Jethro Tull album---it isn't mentioned all that much when fans talk about their favorite albums by the group. Even *I* hadn't played it for many years. But listening to this new remastered edition makes me hear "Stormwatch" in a whole new light. It's an excellent entry in Jethro Tull's catalog.

This is a better CD (album) than I thought it was even when I bought it upon it's original release. At the time I was a teenager and though well-read, I was unable to fully grasp the songs. Today, I feel that this is a fantastic recording and a fantastic body of songs. The themes of a world of unrest and a world where environmental concerns are becoming front page news again. Make this a timely and well rounded collection of observational songs that also carry a feeling of yearning. "Home" is and was a great single. It should be a song that is played as much as "Aqualung". Well, I'm not going to pontificate about musical endeavors but, Ian Anderson is simply put... a genius. An often misapplied word used to describe lesser talents but, fully applicable in the setting of this bands storied history and brilliant catalog.

Only high quality victuals are served at this 10 course extravaganza, as well as 3 tasty desserts and a syrupy beverage. The ten original songs are all excellent in my opinion, and the only extra that is a lightweight is Stitch in Time (syrupy chorus). Really this is just the 12th album in a row of very impressive songwriting and musicianship, all quite different and unbelievably creative and professional (often called the classic 12). I saw this concert in early 1980 so I have particularly fond memories of this one, take that into consideration before buying, although I try to be objective as possible (with the few bands I adore). This kind of overall talent, consistency and long-term work ethic is only found in a handfull of bands from what I can tell. And check out the almost fussy perfectionism - there isn't an out of tune note to be found. The sound engineering on here is stunning for 1979, to my ears (probably damaged from 30 years of electric guitar).

Funny that on my TULL list here on Amazon (A Neandertull's Cave Favorites) I put this as 12th ranked of my favorites, but it is so close in my mind that the order (of the classic 12) could be reversed and I would still feel fine about it. Basically a tie for the most part since they all have their charms in spades. For instance, I agree that Home is one of the most beautifully composed love songs Ian has written (there aren't many, granted). Most will agree I think that Dun Ringill is up there near the top of the acoustic masterpieces list - a trippy song with incredible words and killer guitar - so fine. Dark Ages is very "Icy" ("cold rages burn in your head" - yep, another cynical one) but engaging prog piece at over 9 minutes, full of great instrumentation and killer riffage (by all, check out Ian playing bass on most of these songs since the great John Glascock sadly died during the making of Stormwatch), that is in the spirit of Baker St. Muse, Pibroch and No Lullaby. Warm Sporran is a spacey instrumental march that might sound great at the Edinburgh Military Tatoo - Tull in Kilts ready to kick ass. Something's on the Move is a serious rocker - drums, bass and guitar are blazin' - the iceberg will be but an icecube after all this heat (I was devastated that Barlow left the band after this album, as well as Evans). Old Ghosts is another winter song creating forlorn images in the mind's eye ("sheepdog's howl, make tracks and growl, their tails hanging low"), Ian excels at this mind's eye wordplay. Flying Dutchman, pretty long at 7:42 min., is another extended proggy piece that is one of the best on here (Glascock plays bass on this one), political and enigmatic as usual, winding its way through many themes and feelings, buiding the energy to a cadence for the lead-in to the beautiful instrumental, Elegy (one of the most beautiful Palmer arrangements anywhere). It would be sad to think that Glascock added bass to a song mourning his death (maybe the title was changed to this afterwards?).

And to be pals, they threw in four extras: two great and fitting rockers, Kelpie and Crossword and another cool string arrangement by Palmer of a traditional song, King Henry's Madrigal. Stitch in Time is a great song overall, but the chorus is a bit goofy, I like the melody and instrumentation though. This cd is almost 60 minutes long with excellent packaging and all lyrics, including the extras (unusual). Great cover idea Ian (many cool snippets of album art in here).

This is so worth it folks, I consider it a pleasure to fork over the equivalent of lunch money for this treasure...Don't eat out for a day if you have to. Tull is best heard LOUD on good equipment, especially with the remasters offered now, they are all a big improvement (I bought this album when it came out, sound quality isn't even close on my old copy) Enjoy often on wintery nights!