This classic album, produced by Paul Samwell-Smith, was released back in 1982. The songs on Broadsword & the Beast are highly accessible, with imaginative lyrics that shouldn't be taken too seriously -- "If you wear a warmer sporran, you can keep the foe at bay" and all that! It combines searing electric guitar/keyboard arrangements with full on drumming and bass. It's probably one of Tull's most underrated, eccentric albums; that's why I love it so much! (Tull appeared as usual at this summer's legendary Cropredy Festival in Oxfordshire, England, before a crowd of 18,000, alongside old sparring partners Fairport Convention. They're touring -- and "hitting that spot"! -- as successfully as ever.)

Recorded in those "good old days" when rock album artwork was equally as important as the music that graced the vinyl beneath the cover, this recording boasts an absolutely cracking sleeve that reflects Anderson's medieval-flavoured lyrics (beasts, swords, torrential seas, storm-tossed boats....) The artwork doesn't look half so good compressed onto the CD cover format, though!

The distinctive voice, flute/guitar playing and excellent songwriting of Ian Anderson dominate this recording. The best folk-rock musicians in their field accompany him: Martin Barre (electric/acoustic guitar), Dave Pegg (basses/mandolin/vocal), Peter-John Vettese (piano/synths/vocal) and Gerry Conway (drums/percussion). Both Pegg and Conway feature in the current Fairport Convention lineup, and Conway is also well known for his longstanding input on Cat Stevens' work.

Some songs are head and shoulders above the rest, but it's the sort of album where every song has appeal -- Anderson's written some great material here -- and the songs quickly grow on you. The anthemic "Beastie" is a little "Beauty," it epitomizes Tull's "synth" era perfectly, and the electric guitars and keyboards work brilliantly. "The Clasp" is another superlative cracker -- just listen to Conway's storming bodhran playing! "Fallen on Hard Times" and "Slow Marching Band" allow you to hear Anderson's distinctive flute playing (though it's not so prominent on this album). "Broadsword" resonates with drama; the drums on "Watching Me Watching You" recreate the train effects of the song's lyrics. Always one of my favourites, the highly lyrical "Pussy Willow" features fantastic bass work and a wonderful tune. I love the lyrics, too -- "Pussy willow, down fur-lined avenue...." The album finishes with "Cheerio," a favourite closing number at Tull gigs.

This is a highly recommended blast from the past!

- Rambles
written by Debbie Koritsas
published 27 November 2004