Jethro Tull
The Broadsword And The Beast (The 40th Anniversary 'Monster' Edition)

Here I am to review a truly rich and succulent deluxe repackage. As I mentioned in one of my editorials, we Jethro Tull fans were eagerly awaiting the deluxe edition of the album The Broadsword And The Beast, an absolutely fabulous album that Tull released in 1982. And finally, after a long wait, here I am to talk about it. It is The Broadsword And The Beast (The 40th Anniversary Monster Edition). Important premise: if you are not passionate admirers of Jethro Tull and good music, or if, quite simply, you must write provocative and/or derogatory comments against me and/or the band, it is evident that what I write and the music I propose are not to your liking, so go and read and write what pleases you and causes you great emotions.

Even here, as in other Tull albums I have reviewed, one might think of a subtitle, namely: how to make an already spectacular album into something stellar; in fact, here Jethro Tull have really returned in style and have crafted a deluxe repackage full of unreleased material, even for me, who have been listening to them since 2012. I must say this is a box set that absolutely must be part of your collection because it is a real gem to be preserved and cherished. First of all, this deluxe repackage consists of 5 CDs and 3 DVDs. I am enjoying it track by track, so I will write the review calmly and try to discuss it using the language of emotions, trying to put in black and white what the listening experience conveys to me. In CD 1, there is the album and the first part of the Associated Recordings. As for the ten tracks of the album, there is not much to say: I can only tell you that hearing an album like The Broadsword And The Beast again with such beautiful and clear audio is truly goosebump-inducing. After listening to the entire album, starting with track 11, the unreleased material begins, as you can appreciate the results of the first recording sessions of the album; in fact, Fallen On Hard Times (first and second version), Seal Driver (first version), Cheerio (alternative version), and Jack-A-Lynn (acoustic version), are truly delightful. CD 1 concludes with the audio documentation of rehearsals to perfectly pitch the word 'Beastie'. Just citing the contents offered by this first CD suffices to understand that Jethro Tull were fully aware that they were working to craft a very important album, on the level of Thick As A Brick and Benefit. Moreover, it is absolutely essential to state with absolute clarity that The Broadsword And The Beast, as far as I am concerned, is the last great Tull album, which, at least as far as I am concerned, they should have stopped here, avoiding us listeners the torture of listening to albums lacking depth and the disappointment of hearing Ian Anderson who, while singing well, will never again be able to deliver performances of the same level as those from their golden period up until 1982, the year this absolutely spectacular album was released, which, not coincidentally, is my third favorite album.

Before delving into the heart of this review, it is essential to emphasize that this extraordinary album is a massive concept album on the theme of the journey (indeed, even the previous album, A, is a grand and imposing concept album that, unlike The Broadsword And The Beast, addresses issues and problems related to contemporaneity and modernity. Just think of massive super classics like Fylingdale Flyer, Batteries Not Included, and that immense masterpiece that is Black Sunday). In the album I am reviewing, however, incredible tracks stand out like: Clasp, Slow Marching Band, Fallen On Hard Times, Jack Frost And The Hooded Crow (unfortunately one of the ten bonus tracks proposed in the standard edition), and Watching Me, Watching You (a truly spectacular song!). Here, Jethro Tull sees yet another lineup change: indeed, the keyboards welcome Peter-John Vettese, who immediately demonstrates his skill; on drums, instead, there is Gerry Conway, a very precise metronome: always on point, he drives the entire album, giving each single song something special, which allows this album to be the masterpiece, the classic, and the milestone of good progressive rock that it is, was, and always will be. On bass, the Scottish bassist Dave Pegg returns (who had already played on the previous album, A), replacing John Glascock, who passed away several years prior, just as Tull were doing the closing concert of their American tour to promote the album Stormwatch. Furthermore, the death of John Glascock led to the definitive departure of Barriemore Barlow, Tull's historical drummer. It is also worth noting that this album does not have the classic prog features that the previous album had.

Unlike all the other deluxe repackages of other albums by this historic English band, this deluxe edition resembles an Experience Edition, because in addition to the Associate Recordings, it also includes several demos, recorded during the studio recording sessions. Moreover, for someone, like the writer, for whom this is the third favorite album, they will be able to enjoy the journey into an imaginative world to the fullest, also thanks to the numerous bonus and extra tracks: just cite Jack Frost And The Hooded Crow, an incredible track that tries to open our listeners' minds towards those in situations of poverty and/or towards those less fortunate than us.