Ticket 2 Ride

Ian Anderson/Jethro Tull are on quite a late career musical spurt. Two albums and touring in two years, that’s a lot for any band, especially Jethro Tull who is Ian Anderson and backing band. These two albums have stirred a lot of interest, Tull fans have responded by pushing these albums high on the charts.

The Zealot Gene did not raise much expectation from me. It had been many years since an album of new material under the group’s name. Anderson had released a solo album, and frankly, it’s tough to tell the difference. Anderson is Tull, and Tull is Anderson.

Anderson is a not only a very talented musician and songwriter, he’s a smart businessman. Jethro Tull was made him wealthy and afforded him the opportunity to diversify his wealth into many businesses. Jethro Tull is a brand, a commodity. That brings me The Zealot Gene, the latest Tull product.

Five or more years in the making (other projects, Covid) delayed the finish of this album. The Zealot Gene has its foundation in Biblical references and verse, not unusual for Anderson to use history, mythology or philosophy as the genesis of his song lyrics.

The songwriting, other than the lyrical content, is surprisingly good here. Lots of classic Tull musical flourishes and the flute is not overused or cloying as it sometimes is on Tull albums. Crunchy guitar and piano are used effectively, and the occasional acoustic guitar. Musically, this album has grown on me. At first, I was lukewarm to this album, even a bit dismissive, but I pulled the cork again and let it breathe before playing it again.

Anderson’s voice. Tired and limited, yes. Not too old to rock and roll, but no longer able to sing like yourself. Remember when Richard Harris “sang” Jimmy Webb songs back in the 1960s and performed in Camelot? Anderson’s voice is similar now, a good effort, but not much range or volume. He compensates by maximizing what he can do, and it’s enough.

Score: 8/10

RökFlöte is quite a surprise, especially following so close on the heels of The Zealot Gene. RökFlöte is a loose concept album, not unusual for a Tull album. Scandinavian imagery abound in the tales Anderson writes, the lyrics dripping with Vikings, longships and Norseman mythology. Tull has frequently made use of folk imagery in Anderson’s lyrics, but this time he traces his possible roots back even further. After a few listens, the lyrics are no less confusing and or immediate.

Anderson explains: “There are 12 songs here based on the characters and roles of some principle gods of the old Norse paganism. Each set of lyrics was written in the form of a lyric poem with the first three stanzas in either Trochaic or lambic Tetrameter to describe the settings, identities and personalities of the different gods. The final two stanzas of songs 2 – 11 (in light red type on the lyrics document), are a different personalised interpretation of those subiects in a more contemporary setting.”

These are not songs you’ll be humming in the shower or singing to yourself on your commute to work. This is art-history rock, by way of Erik the Red.

Anderson initially planned to make an instrumental flute album, but changed his mind and it became a full-fledged Jethro Tull album. He wrote the songs and created demos, then brought the band in, giving them instructions about what and when to play.

The guitar is crunchier than it’s been on Tull albums since Martin Barre, although it rarely cuts loose, which is unfortunate. The music is better than average, and the flute actually works well, but the album lacks life. The music is held hostage by the dense lyrics about Nordic god battles.

Classic Rock wrote this in their review: “What’s surprising is that Anderson can kick up more menace with his flute than any number of hoarse roaring voices and thrashing guitars.”

On this album, Anderson’s voice is fine, not great, but passable. I accept that his voice is what it is. The vocal part of this album is the least interesting part. There’s probably a great set of stories on this album, but I haven’t the patience to study and decode it.

Score: 6/10