Customer Reviews

Too Old to Rock 'n' Roll: Too Young to Die!

5 star:		(16)
4 star:		(14)
3 star:		(8)
2 star:		(2)
1 star:		(2)

 

 

This old Tull release was written during a transitional period for the band; among other things, Jeffrey Hammond had left and been replaced by John Glascock (who died tragically a few years later).

For Ian Anderson too, these tunes were something of a departure. Having already tried his hand at a surreal-parody "concept album" (_Thick As A Brick_) and a more serious one (_A Passion Play_, plus the previously unreleased tracks on _Nightcap_), here he attempted a stage musical. The musical itself was never performed or even completed, but this album was released.

It's always been something of an oddity in the Tull catalog and fans' attitudes toward it have been deeply divided. I'm surely not going to settle any arguments here; all I'm going to say is that I like it just fine myself. (I also enjoy the guest appearances, especially the backing vocals by Steeleye Span's Maddy Prior on the title track. And I hope someday someone writes a complete history of the cross-fertilization among Tull, Steeleye, and Fairport Convention.)

The main reason I'm reviewing it now, in fact, is to comment on the high quality of this recent remastering. It's terrific; the recording is clearer and crisper than the original release, and the two extra tracks are a hoot. ("A Small Cigar" is also on _Nightcap_, but I'd never before heard "Strip Cartoon". It's on the twenty-year anniversary collection, but I haven't got that one.)

If you're new to Tull, you probably don't want to start here. Personally, I'd recommend beginning with _Songs from the Wood_ and _Heavy Horses_, which I think are their two greatest albums. But don't let all the bad things you've heard about this one put you off; Anderson's/Tull's worst is better than most bands' best. Give it a listen and make up your own mind. Anderson & Co. have always demanded a lot from their listeners, including a willingness to pay extra close attention when Anderson steps outside of his own cliches.

This 1976 album has been criticized by a number of prog fans, including certain "academically-oriented" progressive rock writers. To tell you the truth, I am not entirely clear as to why this album is criticized and with such vigor. It is actually pretty darn good and initiates a period where some fairly incredible music was being cranked out by Mr. Anderson and company.

With respect to the lineup at this point, Jeffrey Hammond-Hammond left the group after Minstrel in the Gallery (1975), leaving the band without a bassist. The late John Glascock replaced Jeffrey and the tone that John gets out of his Fender Musicman bass is very tight and punchy and the interplay with virtuoso drummer Barriemore Barlow is truly something to behold. Speaking of Barriemore, his drumming during the mid - late 1970's was simply jaw dropping - those of you that need proof are urged to check out his solo on "Conundrum" from the live Bursting Out album (1978). As such, his performances on Too Old to Die: Too Young to Rock n' Roll are excellent, although he does not play on every track. Come to think of it, the performances by all of the band members are all fairly inspired and Ian even plays a solo on a harmonica along with some semi-jazzy riffs on the saxophone. In addition to the core members, string and brass arrangements are featured here and there and Steeleye Span vocalist Maddy Prior provides backing vocals on the title track.Personally, I feel that the subtle changes in instrumentation were a nice addition.

The music on this album is characteristic of the blend of acoustic textures and thunderous prog that started with Minstrel in the Gallery and culminated with albums like Songs from the Wood (1977) and Heavy Horses (1978). One other thing worth mentioning is that the use of melodies increased dramatically on this album and they are actually very nice.

The remastering is superb and features incredibly good sound quality along with loads of band photos, liner notes, pretty good bonus tracks, and restored cover/gatefold art.

All in all, I found this album to be very enjoyable and certainly not nearly as bad as people say it is. Recommended along with the excellent Songs from the Wood and Heavy Horses.

Although somewhat-overlooked in the band's catalog, 1976's "Too Old To Rock 'N' Roll, Too Young To Die" has always been one of my very favorite Jethro Tull albums. It was originally conceived as a soundtrack album to a planned stage musical about an aging rocker in his late 50's named Ray Lomas (whose story is told somewhat by the amusing comic strip included inside the album, AND whose face has a passing resemblance to Tull leader Ian Anderson). The stage musical never happened---you'll have to ask Ian Anderson for the reason why---but the album survived, and it's a true rock beauty. Since the songs were originally intended for the theater, Anderson had to take extra care in making these tunes hummable (even the harder-edged stuff), and hummable they most certainly are. While only the cheerful title track of the album was any sort of hit for the group, every single song here is a memorable winner. There are great melodic Tull rockers on display like "Quizz Kid," "Taxi Grab," "Big Dipper," "Pied Piper," as well as whimsical songs like "Crazed Institution," "The Chequered Flag," and the aforementioned title song. And Ian Anderson lays down some beautiful acoustic numbers as well, like "Salamander," "From A Dead Beat To An Old Greaser," & "Bad Eyed And Loveless." Great songs, all of them, and all played to perfection by Anderson, Martin Barre, John Evan, Barriemore Barlow, and their new bassist at the time, the late, great John Glascock. David Palmer's handsome orchestrations to some of the songs is also a plus. And not only has "Too Old To Rock 'N' Roll..." been remastered for better sound quality, but there are now two terrific bonus tracks included at the end---the outstanding Anderson acoustic showcase "A Small Cigar," and the fun "Strip Cartoon," both songs guaranteed to make you smile."Too Old To Rock 'N' Roll, Too Young To Die" is a great Jethro Tull album, certainly ranking somewhere in the band's Top 10 best. Like Ian Anderson himself says, you're *never* too old to rock 'n' roll. :-)

This album, i don't understand the negativity towards it. is it because of the self ironically cheeky concept? The fact that it doesn't have a song over 8 mintues, or even 6? Forget that; this is one of Ian's best collections of songs.
What sets it apart from other Tull albums you say? The fact that is has one of Ian's most perfect collections of melodies and themes ever assembled. No, it's hardly as complex as Ministrel. Yes, it's occasionally a bit show tuneish (the title track) but hey, just listen to these songs. You can sing them to yourself later. You have them all memorized you Tull fans you. Listen to this album again.

Some Tull fans may think I'm crazy, but I really enjoy this album. This has never been a very popular record, but plain and simple the musicianship is excellent overall, ranging from the intricate accoustic guitar intro on "Salamander", to the sing-along chorus of "Big Dipper" which has a very infectious beat supplied by Barrie Barlow. This was the first Tull album to feature talented bass guitarist Jon Glasscock, who really had a unique style and came up with some unique bass lines if you listen closely. I think my favorite track is the last one (Chequered Flag) which has some really touching lyrics and breathtaking moments. For anybody who has lived in a big city, then you will chuckle at the amusing lyrics on "Taxi Grab." Overall, this is a concept album about a 1950s greaser trying to reclaim his youthful days...a theme that is still relevant today as many from the 60s and 70s generation (my parents included) are trying to feel young again by listening to classic rock on the radio. Oh well, I guess I'll be doing the same thing when I turn 50! This record is definitely underrated in the Tull discography and the extra tracks on this cd are worth hearing. The strip cartoon inside is also pretty funny. Pick this one up. It's grand!

This Album has been overly critizised and overlooked. You just can't go wrong with "Taxi Grab", "Big Dipper" and "The Chequered Flag". The title track is exceptional, and the two bonus tracks are great, especially "A Small Cigar". This is a VERY TULL sounding album, a fusion of the musical styles of WarChild and Minstrel in the Gallery. If you already own this album then listen to it again, and if you don't you should purchase it.

This Tull album was "lost" in between two of their finest, more critically acclaimed (and commercially successful) albums -- "Minstrel in the Gallery" and "Songs from the Wood." It's subtlety and humor were also lost on the critics, but there are some very fine songs here, including Salamander, Big Dipper, Crazed Institution, the title track and, my favorite, The Pied Piper. In my opinion, this is the best musical era of Tull -- the mid to late 70's -- and this album is at least partially representative of this musical craftmanship. This is hardly my favorite Tull album, but I still enjoy it a lot. It still perplexes me that this album was so overlooked by both critics and fans. John Glascock is superb on bass (as he is for the next 2 albums before his death in 1979). The addition of the acoustic song "A Small Cigar" -- with very clever, witty lyrics by Ian A. -- is a bonus

A true anomaly in Jethro Tull's catalogue, Too Old to Rock 'n' Roll was positively loathed by the rock press when it was released. The album did reach a respectable 14 in the US charts, but actual sales were nowhere near what previous Tull releases had achieved. That the critics hated this was to be expected, but why did the fans turn off? It's hard to say, as this album is surely Jethro Tull's most "commercial" album of the Seventies.

The array of styles present here are astounding! Folk, jazz, orchestral, blues, rock and (say it's not so!) show-tune stylings are all apparent: all are mixed together in a beguiling way, and the results are as quirky as hell!

Quizz Kid, Crazed Institution, Taxi Grab and Big Dipper are all great rock songs, with Ian Anderson's characteristically scornful lyrics and Martin Barre's searing guitar work out front. Crazed Institution, a put-down of the glam rockers of the day, is especially good.

Salamander and Bad-Eyed 'N' Loveless are among Anderson's finest acoustic pieces, while the epic title track is the only tune here to halfway establish itself as a radio hit.

My personal favorites on Too Old To Rock 'n' Roll are, probably, the oddest tracks. From A Dead Beat To An Old Greaser is a haunting piece redolent of the decadent beat scene of Jack Kerouac, complete with intentionally sleazy sax solo. The Chequered Flag is a gorgeous finale, with some Elgar-like orchestrations and some incredible singing by Anderson. God, could he sing then!

The one track on here that really doesn't work is Pied Piper. There's a whiff of "knock-off" about it, and while it does possess some intriguing quirkiness, the song mostly falls flat.

The bonus tracks on here are excellent, too. A Small Cigar is hardly a masterpiece, but David Palmer's piano work is pure elegance! Strip Cartoon has always been one of my favorite tracks, and with its mixture of styles, it fits into this album perfectly!

On a final note, although the knocks that this album has taken are not warranted, the criticism of the record's actual concept is entirely valid. Ian Anderson insists that the album's protagonist, one Ray Lomas, is not based on him at all. If that's the case, then it probably wasn't the best idea to have Ray Lomas drawn to resemble Anderson to a tee. Secondly, Ian has always denied making concept albums, but Too Old Too Rock 'n' Roll is a blatant concept album, and the concept is a rather self-aggrandizing one. "Once popular rocker became unfashionable but then regains popularity" is hardly a gripping dramatic device! But, at the end of the day, the music redeems the concept, and I would say that this ranks as one great album!

This album displays a disregard for what the rest of the world is doing--let alone what is in style at the time. As is too often the case with fashion, be it music, clothing, furnishing a home etc. we let the "experts" dictate what is "in" and what is not. Ray L. (Ian A.) determines for himself that he needs to be himself and not worry about what the rest of world thinks. In the last frame of the comic, Ray made it big--again. Just like Ian and Tull, they continue to move along doing what they do.

I simply can't understand why people get on Ian for writing something a little lighter than was usual after yelling at him for confusing them with "A Passion Play". Just because something is different doesn't mean it's bad.