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64 of 70 people found the following review helpful:
5.0 out of 5 stars
Progressive, Experimental and all Tull, June 2, 2003
Call it what you like, this album is progressive because Jethro Tull married multiple musical styles on one album. The album is conceptual because the entire song is actually multiple songs married into one song by a variety of transitions and interludes. There may be an occasional unevenness in the transitions, but in general the whole thing works, and is one of the most unique works of rock music.Early progressive rock was born in fits and starts. Tracing back, some of the earliest identifiable elements of progressive rock show up in some Beatles' songs. The Moody Blues provided more definition to progressive rock, and created the first progressive rock albums, though their progressive rock was on the lighter side and was much less daring than King Crimson, who's "In the Court of the Crimson King" established how cutting edge progressive rock could be. By 1972, progressive rock had a better-defined face, and that face was readily identifiable on albums such as "Fragile" and "Close to the Edge", by Yes, "Foxtrot" by Genesis, and "Thick as a Brick", by Jethro Tull. There were quite a few other progressive albums released by 1972, and numerous other artists using progressive elements in their music, but these albums were among those that helped to define the limits, or lack thereof, of progressive rock. As serious as some of us like to believe this album is, it is a satire. This album pokes fun at issues contemporary to 1972, which somehow remain somewhat contemporary to now. Some examples: the drive to push society to cater to the needs of the "average" person rather than helping the above-average person develop their skills; the debate over war and the need for war; helping others to build their country and then having them go to war with you; people who live on the dole rather than being some useful part of society. The list is quite extensive, and much of the tone is sarcastic, often caustic, if you can discern the meaning. To match the extensive nature of the album lyrics are musical styles that range nearly as wide: there are catchy pop-like tunes; there are folk-classical influenced portions; there is a dirge on side two; there are faster rock portions; even a bit of pomp and circumstance. I haven't even covered half the range of styles. At the very least, Jethro Tull wasn't afraid to commit their feelings of the moment musically to an album. Artistically their vision on this album is as expansive as any other group I can recall. Add to this broad range of styles sound effects and bizarre transitions, and you can tell that not only did Jethro Tull use everything, they also threw in the kitchen sink. This album became a nearly instant classic in 1972. It vaulted to number one, and for a while made Jethro Tull one of the biggest groups in rock, though their music was far broader than rock. The album was also anti-establishment (a term that hasn't been spoken since at least the early 70s). Though portions of the counter-culture lyrics are relatively plain, substantial other portions of the lyrics are subtle, nearly cryptic, and manage to poke fun at numerous institutions and philosophies. Some messages are so cleverly phrased and subtle that you could call Jethro Tull progressive rock for intellectuals, though you need not delve that deeply into Tull's lyrics to enjoy them. By the way, the phrase "thick as a brick" is slang for "stupid". I think Ian Anderson was already poking fun at those that wouldn't have the foggiest idea at what he was attempting to do with this CD, and already having a big laugh in preparation for the reaction after the album was released. The reaction was mixed. Many critics hailed it for its "message"; others derided it for being counter-culture and musical garbage. Likely many people ascribed deeper meanings to it where there were none, and missed the meaning where there was some. At the end of it all was Ian Anderson and Jethro Tull, laughing, because they knew from the beginning that all of this was their art, which has to be interpreted by each person in their own way, and one person may see something that another doesn't, which ultimately means that while there are some clearly common elements, you don't want to make too much of the meanings. They are what they are, and they may be different for you and me. Isn't great music grand? Five stars for one of the best progressive rock albums to ever be released, and for music to be intellectually stimulated by.
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83 of 93 people found the following review helpful:
5.0 out of 5 stars
Grandiose, Sophisticated, Refined!, November 20, 2001
This to me is Jethro Tull's finest work. A total masterpiece in the greatest sense of the word. I'm not even sure I can write a decent review for this album without sounding like an idiot. But I'll try anyway.
It's a concept album about a young boy named Gerald Bostock (fake character), who writes a poem for a contest, but it is deemed offensive, and the boy gets disqualified. The lyrics are VERY complicated and understated, and to make a long story short, at least in my opinion, is based on the young boy's cynical outlook on life. But, you needn't worry about any of that, since the concept was mainly a big joke (or parody/spoof) by Ian Anderson & Company, and most importantly, the music is *so* overwhelmingly powerful and seductive, you won't care all that much about the lyrical meanings anyway.
The music on here drowns in it's own sophistication, refinement and high-class; the musicianship and it's high-class is something that shouldn't be taken too lightly, and should be the envy of many a musician and a listener. It starts off with acoustic guitar, followed by the flute, then Ian's vocals. The piece takes off from there. From there you will find tremendous melody, some hard rock, folk, jazz, and classical influences combined with many different shifts in tempo and time, and the band pulls no punches, as musical ideas keep flowing and flowing into each other like one huge piece, until the climactic end. It's divided into two halves. To be quite honest, the whole thing sounds like one gigantic classical piece, only with rock added. Also, I arguably think the second half is the stronger of the two, as the grandiose first half gets turned up a notch or two to a full blown english renaissance drama.
I can't say much more because I feel I'm at a lost for words. This is *indefinitely* one of my favorites in all of rock music, and music, period. If you REALLY like musical music, classical, jazz, folk or prog-rock in general, I think this is VERY ESSENTIAL and I highly recommend it to music lovers. It's *that* good.
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22 of 22 people found the following review helpful:
5.0 out of 5 stars
What to do with a..., November 9, 2001
"Thick As A Brick" has had to contend with two obstacles since its release. The first was that it was the follow-up release to "Aqualung" - considered by many as "the" Jethro Tull album - and thus had to (for many listeners) improve upon perfection. The second, and more difficult to overcome, problem is its sheer size. A 43 minute epic song with multiple layers of lyrical meaning always runs the risk of becoming the musical equivalent of "War and Peace" - that is, an epic that everyone wants to claim to have heard or read but no one actually wants to do go to the trouble of hearing or reading.In typical Tull style, both problems were overcome with flying colours. The combination of soaring electric guitar and "Olde Englishe" folk motifs that created the Tull sound on "Aqualung" was continued and embellished here - in my opinion making "Aqualung" a pale second best in the Tull canon. To overcome the problem of the length, Ian Anderson surpassed himself in both wonderful lyricism and creativity, while the rest of the band - the best lineup under the Tull name - seem engaged in a constant battle to out-do themselves and each other in the instrumental department. From the first moment the listener hears Ian's acoustic guitar and the memorable opening "Really don't mind if you sit this one out/My words but a whisper, your deafness a shout", they are transported to a magical world where anything goes musically.
Martin Barre's sublime freakouts, Barriemore Barlow's drumming at the start of the second half, John Evans' quasi-classical organ playing and the wonderful sound of Ian's flute combine in an odyssey of rock, folk, jazz and classical elements to create a marvellous experience. One review I've seen of this album suggests that you keep yourself busy while playing it, quite frankly I'd find that impossible. No sooner had I started doing anything, I'd be singing along and whistling the tunes - it's just that catchy. The highlights of the song are many and varied and will probably be completely different for everyone. I personally can't get past any of these:
1) The march which is struck up from the 15 minute mark. 2) The drumroll which introduces the "youngest/oldest in the family" sequence. 3) The "failing light" sequence. Ian's poetry reaches new heights on this album. His imagery is sure to stick with any listener long after the final notes have died away. My friends, for whom I've taped my CD several times, and I often use various lines to prove points in assignments and the like. The "which part of the song does this line come from?" game is a tradition of lunchtimes - I'm still a high school student. That said, the poetry is not all marvellously intellectual, in keeping with the English folk music being used as a base there are lines like "Your sperm's in the gutter, your love's in the sink" and the like - all of which generate just as much interest. The two "extra tracks" on this version of the CD - a live performance and an interview - are really only recommended for serious Tull fans. The live performance is severely truncated - only 11 minutes long - and the recording quality is not quite as good as perhaps we in more modern times are used to. It is, however, quite interesting to hear Ian's banter as he introduces the song - his live asides are apparently a real highlight of concerts and here ("Welcome to New York - stupid to say that, you live here don't you?") they are certainly very funny. The interview - in which Ian's part has been recorded separately from the other two - is quite interesting in order to understand the troubles of actually recording and playing the album (Ian makes some interesting confessions here). Martin and bassist Jeffrey Hammond tell some wonderful anecdotes about early performances - poor John! The most interesting part of the interview for me, however, was the explanation by Ian about why they did such a "mother of all concept albums". Overall, a classic which has certainly stood the test of time. One of the most wonderful albums/songs of all time and a CD that no collection should be without. Almost certainly something for everyone and everything for many.
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by Jethro Tull 
