Customer Reviews

Under Wraps

5 star:		(4)
4 star:		(9)
3 star:		(5)
2 star:		(8)
1 star:		(5)

 

 

Many Tull fans unjustly shun this work as an aberration in the Tull catalog, a divergent work not really worthy of "Tulldom". I have a different view. First, I will tell you that this is the last album the band made before Ian's voice literally collapsed in the mid 80's, leaving his fans in serious doubt for many years to come as to the veracity of it's ever returning. So, when I think back on that concert tour, I recall with fond memories the final time I saw Ian sing with that wonderful full vocal range so prevalent in the highs of SONGS FROM THE WOODS and the sonorous lows of BAKER STREET MUSE. It was also really the end of an era of 'big shows' where staging and drama came as part of the Jethro Tull package. Ballooning budgetary concerns mandated a less ostentatious approach to putting on a show. Gone forever were arena venues featuring string quartets and the elaborate Viking ship stage sets.

Be it known, however, that this is really quite an amazing album that harkens back to a concept album format. Apparently at the time, Ian had read a lot of John Le Carre and Martin Cruz novels; the album absolutely drips with cold war rhetoric, international espionage and intrigue. The progression of the songs reads like chapters in book GORKY PARK. All the characters are there, from the saboteur, the sexy seductress, the double agent, and the turncoat general selling out his country to the other side. We, the listener play the role of the guileless common man helplessly swept along with the story.

The music is rich and complex. Electronic in places - yes, largely due to the keyboard influences of Peter Vettese, but also full of the signature sounds distinctive to Jethro Tull. Present are Martin Barre's soaring guitar solos, Ian's flute work, and the bass lines distinctive to our old friend, Dave Pegg. The album also serves as our introduction to the man who has played percussion for the band longer than any other, the amazing Doane Perry.

My favorite songs include EUROPEAN LEGACY, LATER THAT SAME EVENING, and UNDER WRAPS #2. The CD contains four songs not originally included on the vinyl, and they break up the flow a bit. Unfortunatly, they dropped AUTOMOTIVE ENGINEERING and GENERAL CROSSING at the end of the disc, rather than before the song APOGEE which worked perfectly as a closing chapter to the novel on the record. I was hoping that with this new remaster, the order of songs would be rectified, but alas...no. This new release really offers nothing new musically, though the sound may be slightly cleaner if you are fortunate to own a really amazing stereo system, but for most of us, the difference is negligable. The LAP OF LUXURY video is a nice inclusion, but probably not worth the $$ if you already own this CD.

Martin Barre has referred to this as the Tull album he listens to when he wants to listen to a Tull album. He absolutely smokes on HEAT, a song which I think could sit comfortably on any 'Best of Jethro Tull' disc. While not a perfect album, in my opinion it is still a great album.

Ian Anderson deserves credit for constantly being open to new inspiration, new sound sources, new influences, and ways to stay at least somewhat relevant to what the current pop music climate is. 1984's "Under Wraps" is the best example of this. It's hard to believe that the same band (or at least the same band name) made both the "This Was" and "Under Wraps" albums. This remastered edition of "Under Wraps" includes the promo video for the album's single, "Lap of Luxury," which got a fair amount of airplay on MTV at the time, although "Lap" didn't chart very high and the band has never, to my knowledge, performed it since the tour for "Under Wraps." A welcome addition since only part of the video appears on the 20th anniversary Tull DVD/videotape.

In any event, guitarist Martin Barre has somewhat surprisingly said several times over the years (including a phone interview I did with him in 1988 for the Washington Times) that this is his favorite Jethro Tull album and the easiest one for them to make. The tracks "European Legacy," "Under Wraps" #1 and #2, "Heat," and "Lap of Luxury" are among my favorite Tull songs. I think it is the instrumentation - digital drum machine in lieu of a live drummer - that puts people off, since it adds to the somewhat cold, digital, super-precise feel of the album. The above-named songs would fit well into any Tull setlist with the addition of drummer Doane Perry instead of the drum machine (interestingly, Perry has said that Ian Anderson is the finest drum machine programmer he's ever come across). Certainly the overall tone is not what someone would ordinarily expect from Jethro Tull, but then it's hard to think of a band that varies its style so much from album to album. What IS the "real" Jethro Tull sound, anyway?

If it's good enough for Martin Barre, it's good enough for me. :)

At first casual listen I was quite disappointed, the 70's Tull sound now completely gone by this albums creation in 1984. But subsequent listens grabbed me. This is a great album! I can't even point my finger on it but there is something really enjoyable and infectious about this music. I've been listening to quite a bit of the other, mostly 70's, Tull albums and this one is refreshing for a change of pace when I discovered it recently. This was an album I wrote off before I ever listened to it, big mistake. Ian proves he can master the more electronic and synth influenced music and make it work- and work well. Kind of funny, but after listening to Under Wraps for a while, the other Tull material is what sounded 'different' and a bit off. Its all good but give Under Wraps a chance, look past some of that 80's vibe and you'll find some great timeless music. Just give it a couple of listens before you pass judgement...

Just kidding...thought I would finally review at least one cd from a favorite band that is not "well-loved" (but note the 4- star rating which means "I like it" at Amazon). This isn't a Tull album you would play for a rocker friend to get him/her into TULL...You might never hear the end of it! I am a very absorbed and appreciative TULL fan and have most of the albums (see my Amazon list) but find myself cringing at the style here! Under Wraps sounds more like Devo or The Buggles (not the Police like IA says) or something, which isn't horrible or anything, just strange for TULL! I'm trying to get my Tool/Floyd/Nirvana loving 14 yr old son into TULL and I will have to hide this one or it's over!! Actually, I've played it quite a few times now and he has heard it a bit to his snearing delight. Luckily I have a few hours everyday to play instruments and crank it up and, guess what, my TULL chromosome kicked in and I had a blast playing drums to this (the electro drums provide a metronome like quality)! AND, that is what is needed to cover up the electronic drums that disturb my 60's/70's rock sensibilities (I got into fusion jazz and blues in the 80's to avoid the silly crap that infected the rock world). It's hard not to like any work of TULL, I find, if it is given half a chance. The songs ARE quite fun and high energy but a little hyper sounding. If this album could be redone or had the drum track replaced with something soulfull it could be far more enjoyable. The keyboard work is interesting and the real live playing is very professional, as you would expect.

And Martin...God bless you! You're truly one of my favorite guitarists (I've been one for almost 30 yrs), but how could this be your favorite TULL album? There are so many great ones and your playing on others is phenomenal...you've lived in Europe far too long (welcome to the Northwest, I heard you bought a place in W. Canada)! Spanish discotek's are great on vacation, but you leave that music there (j.j.)! There is a reason TULL fell flat in the U.S.A. with this recording - Americans didn't want a dance TULL act!

Can Doane Perry just redo the drum track and release a new Under Wraps called "Under Wraps...secret mission - blow up the drum machine"? Thanks TULL for all of the great music (including this one, I appreciate the need to experiment), I have gained so much from your music over the years! Keep on Rockin'...

This album rather shocked me when I listened to it for the first time...but now I love it. If the only Tull album you have is Aqualung, then I would strongly recommend waiting to buy this cd until you have heard "A" and also "Broadsword and the Beast", which both incorporate electronic sounds. If you have read many bad reviews of this album, take them with a grain of salt; in fact, this is a really fascinating and innovative album in many ways. To appreciate this disc you need to put aside all your pre-conceived notions of the Jethro Tull sound (which isn't very easy) and give it a listen. As always, Ian Anderson's lyrics are brilliant especially on "Under Wraps" and "Later that Same Evening". When Ian says that his best vocal performance was on this album, you'll understand why. There is little doubt that "Lap of Luxury" and "Radio Free Moscow" are great songs. Martin Barre's guitar shines through during his sizzling solo on "Heat." This album will challenge the ear of the listener more than perhaps any other Tull album, but the rewards are well worth it.

This is the first Jethro Tull album that was engineered and mixed entirely by the band. It not only is a divisive album amongst Tull fans, but also amongst Tull musicians as well. Martin Barre says it's the one Tull album he listens to for pleasure, while bass player Dave Pegg says the Broadsword outtakes would have been better.
This is also one of the few albums that Ian shares writing credits on, with keyboardist Peter Vetesse doing most of the collaborating.
The album suffers from the lack of a human drummer, Ian Anderson choosing instead to employ a drum machine. It also suffers from a lack of flute as well, as the Peter Vetesse's synthesisers take center stage for this album. In some respects Ian Anderson is a sideman on this album. Because of that every song with the exeption of "Under Wraps II" sounds the same as the previous one.
Under Wraps is a lot like the Drama album in the Yes catalog, good example of 80's rock, not so good example of Jethro Tull.

The first time I listened to this album, I found it surprisingly enjoyable at parts; it was definitely much different than my other Tull albums (Aqualung, Thick as a Brick, Heavy Horses, Crest of a Knave and Stormwatch at the time, not to mention two collection discs, a Songs from the Wood LP and a Witch's Promise/Teacher single), there was no doubt about it, but it wasn't really detestable. I can't say that the pieces included on this album are very ear-pleasing to most Tull fans, judging by how people seem to enjoy p---ing on it (figuratively speaking). You either love it or you hate it, I guess.

1. LAP OF LUXURY - 8/10 I'd have gone so far as to say that this is the best first track I've heard on a Tull album when I'd gotten this album, but that's changed recently. It's still good, but very far from what most Tull fans are familiar with.
2. UNDER WRAPS NO. 1 - 9.5/10 That opening voice is a bit unnecessary, but I'd go so far as to say that this is one of the best Tull tracks, if it had less synth sounds in it.
3. EUROPEAN LEGACY - 8/10 To be honest, I think that much more (or less in some parts) could have been done with this. The lyrics are fairly memorable, but not entirely. Not the best, but not the worst.
4. LATER THAT SAME EVENING - 7/10 I found it very difficult to listen to it; it starts out a bit too slow for me.
5. SABOTEUR - 9/10 Far, far away from the familiar Tull. I remember this song perhaps the best on this album (in spite of favoring other tracks more than this one). The lyrics are probably the ones that point closest towards the theme of spies, sabotage, and espionage.
6. RADIO FREE MOSCOW - 8.2/10 And further on... I enjoy this song, which is about propaganda. It might take a while to like.
7. ASTRONOMY - 8/10 And even further away from normal Tull.
8. TUNDRA - 9/10 Again, far from normal Tull.
9. NOBODY'S CAR - 7.4/10 I didn't remember this one too well, so I had to re-listen. The vocals just don't sound right to me.
10. HEAT - 10/10 The high point of the album (by far?!) to me. It starts out with a calm opening, before proceeding to a high-tech-sounding song that sounds very alarming, speaking of early warning? Or is it of being caught? Either way, it's very well-performed, in spite of being unlike most of anything Tull's ever produced.
11. UNDER WRAPS NO. 2 - 7.5/10 It's just not as good the second time around, I'm afraid. Maybe if it was closer to No. 1, then perhaps.
12. PAPARAZZI - 7/10 Like most of the rest of the album.
13. APOGEE - 9.5/10 This song sounds as though to be at least half keyboard at the least. It's... strange, to say the least, but it's a good strange. Not a good ending, though (See below)
14. AUTOMOTIVE ENGINEERING - 7.5/10 I completely forgot about this one; I'm not a big fan of it, but I'll listen to it once in a while, I guess, now that I remember it.
15. GENERAL CROSSING - 9/10 The climax of the album, seems to be done entirely with drum machines and synthesizers (excluding the voacls). A song about traitorship. I'm sure many Tull fans would find it suiting on THIS album, heh. It's good, if a little (A LITTLE?!) far from the norm.

Note: On older record pressings, tracks 7, 8, 14, 15 were released as bonus tracks, depending on the country. A 12" single contained Lap of Luxury, Astronomy, Tundra, and Automotive Engineering (if I remember correctly).

OVERALL - 8.6/10 Not for the normal Tull fan, but it's not to be passed up. If it's not to your taste, then maybe you should try Broadsword and the Beast.

...No offense to Broadsword and the Beast fans.

What is quite possibly Jethro Tull's most controversial album, even more so than "A Passion Play," is their 1984 release, "Under Wraps," a Tull album with a *very* electronic, mid-80's sheen to it. Keyboardist Peter-John Vettese had already glossed things up a bit for Tull on their previous album, "The Broadsword And The Beast." But on "Under Wraps," the keyboard gloss has been doubled, with Tull leader Ian Anderson himself playing a synth drumkit throughout. This caused some Tull fans to have the audio equivalent of a heart attack, and, to this day, the album is not particularly well-loved amongst the band's fanbase. But honestly, folks---for the most part, "Under Wraps" is a really good album. The songwriting (mostly having to do with the theme of espionage) is strong and "Tullified," polished for the 80's but still having the essential Tull melodies & feel just below the surface. The album also features the very last time Anderson was able to sing full-throttle before ensuing vocal problems caused his singing voice to degrade somewhat on subsequent albums. His flute & guitar parts still sparkle (and his drumming ain't bad either), Martin Barre's guitarwork is very good (though he isn't really allowed to "cut loose" on this disc), and Dave Pegg plays a solid bass. And Vettese? I like his keyboard sound, and he did help to "modernize" Jethro Tull in the 80's, which wasn't a bad thing if you think about it. As for the tunes themselves, my favorites include the catchy rock-pop of "Lap Of Luxury," "Under Wraps" (both versions), "Later That Same Evening," "Radio Free Moscow," "Heat," and "Apogee." Admittedly, "Under Wraps" kinda runs out of gas towards the end, with the closing pair of "Automotive Engineering" and "General Crossing," both decent Tull songs but not really essential (and I agree with the reviewer who says "Apogee" would've made a more fitting finale). But by this point, the album has already won me over, and I do like it. Is "Under Wraps" the greatest thing Tull have ever made? No, but I do think it's a much better album than it's reputation would have you believe. My Jethro Tull collection wouldn't be complete without it! Do check out "Under Wraps."

Those of us who like this one share a minority opinion among Tull fans, it seems. This might be a stretch, but I for one think this would have been a much more well received record if it wasn't "Jethro Tull." Imagine if it was released in 1984 under a pseudonym with Duran Duran boys on the cover, or something like Gorillaz. Probably not a hit but might have garnered some attention above and amongst the then- overpopulated synth-pop wasteland.

The songs are for the most part very modern - and the Cold War motif seems to be something Anderson was preoccupied at the time with- See A or Walk Into Light, esp. WIL's "Different Germany." Considering Tull once were called ""The Blades" this little foray into James Bond territory can be explained away to the less-than-enamored.

High energy tunes,"Saboteur" being perhaps the fastest sounding Tull song ever. "Later that Same Evening" has a Thomas Dolby "One of Our Submarines" vibe. "Nobody's Car" is worth a listen. "Automotive Engineering" is proletarian, comparable to "Working John, Working Joe" off of A.
"Astronomy" is a favorite Tull throwaway.

And as a friend once put it- Anderson throws Under Wraps acoustic on there "just to show 'em- he can still do the Tull trick."

The one overall problem with this record is that it always sounds a little too much treble. A deeper use of bass throughout might have lent a little more gravity to the whole thing, sonically and conceptually.

I give a no-star rating for the digitally re-mastered issue of this album. My three stars are strictly for the original. Whoever was in charge of re-mastering these tracks should be strongly encouraged to take up a different line of work. I've made better-sounding recordings on my Yamaha four-track cassette mini-studio. The bass drum is so overpowering that it serves as nothing more than an annoying distraction, and the highs are hissy to the point of absurdity.

That being said, this is by no means one of the better Tull albums, but it isn't nearly as bad as most Tull fans seem to feel. Two things Ian Anderson always tried to do, at least from 1980 onwards, was to acknowledge the existence of technology, and also to be aware of changing trends in popular music. To a very large extent he has managed to keep step with those changes, though decidedly on his own terms. The album A was Ian's first ode to the technological age, with its mention of computers, its strong reliance on synthesizers, and its lyrical content which is largely science-fiction oriented. Musically speaking, "Watching Me Watching You", on Broadsword and the Beast two years later, was an interesting foray into hyper-electronic music. A sadly neglected album was Ian's solo project, Walk Into Light, from 1983, which, even more than A, makes reference to computers and technology in a manner which proves that Mr. Anderson really doesn't approve of living in the past: a message actually contained in the old Tull song of that name which many people have not bothered to try and understand. In fact, Tull's famous and oft-referenced pastoral trilogy, Songs From the Wood, Heavy Horses, and Stormwatch, are not truly representative of the band's total output. Most Jethro Tull albums - or songs, more correctly - are predominantly metropolitan in nature rather than rural, rustic, woodsy, or any of the other terms that are frequently used to define them. Tull's lyrical narratives take place in and around London, and in various other European cities, much more than they do anywhere else, except for the three markedly pastoral albums mentioned above.

With Under Wraps, Ian continues this attention to modernity both in terms of lyrical content and sound. As has been mentioned in other reviews, this album has a strong Robert Ludlum-esque feel to it. Foreign intrigue, espionage, spies, all that stuff, abounds. The songs are a great deal more up-tempo than is usual for Tull, with a lot of backing vocals and catchy choruses. "Paparazzi", "Saboteur", "Heat", "Nobody's Car", and "Radio Free Moscow" are stand-out tracks. When I bought the LP version in 84, there was an EP you could buy separately, which contained most of the extra tracks included on this re-mastered edition. I always favored "Astronomy" and thought it belonged on the album proper, though the others are less than stellar.

Buy this album on a CD if you can, but not this horrendous re-mastering. It's actually a decent collection of catchy and upbeat songs.