Izdavač: Ostalo
Žanr: Hard Rok i Metal, Rok
Poreklo: Strani izvođač

Original, made in UK

Knjizica od 6 str.

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knjizica 5 Cd 5

Studio album by Jethro Tull
Released 10 April 1982 [1]
Recorded 24 March 1981 – 5 February 1982
Studio Maison Rouge Studios, Fulham, London
Genre
Progressive rockhard rockart rockfolk rockelectronic rock
Length 38:49
Label Chrysalis
Producer Paul Samwell-Smith
Jethro Tull chronology
A
(1980) The Broadsword and the Beast
(1982) Under Wraps
(1984)
The Broadsword and the Beast is the 14th studio album by rock band Jethro Tull, released in April 1982 by Chrysalis Records. The album`s musical style features a cross between the dominant synthesizer sound of the 1980s and the folk-influenced style that Jethro Tull used in the previous decade. As such, the band`s characteristic acoustic instrumentation is augmented by electronic soundscapes. The electronic aspects of this album would be explored further by the band on their next album, Under Wraps (1984), as well as on Ian Anderson`s solo album Walk into Light (1983).

Paul Samwell-Smith produced the album, making The Broadsword and the Beast the first and only Jethro Tull album produced by an external producer outside of the band and their management. Early sessions for the album were produced by Keith Olsen, however Olsen was dismissed amid creative differences in December 1981 and did not receive a credit on the album.[3] The album was the first Jethro Tull album to feature Peter-John Vettese on keyboards and Gerry Conway on drums.

Background and recording
After the conclusion of the A tour in late February 1981, Jethro Tull was in need of a new keyboardist and drummer, as keyboardist Eddie Jobson, who billed himself as a `special guest` when performing with Tull, and drummer Mark Craney had departed with the conclusion of the tour. Cat Stevens drummer Gerry Conway was recruited due to being a longtime acquaintance of the band as well as his connections to Fairport Convention, Tull bassist Dave Pegg`s band. Anderson, Barre, Pegg and Conway began recording sessions in March 1981 at Maison Rouge Studios with Anderson playing keyboards, recording until July when the band took a four-month break. While the sessions had produced 15 tracks, only two (`Beastie` and `Watching Me, Watching You`) would make it to the final album, with the rest cut as Anderson felt that `overall they didn`t have a theme or a concept about them that was driving them towards a certain conclusion.`[4] In late summer, Peter-John Vettese was hired as the band`s new keyboardist after answering an ad for the position placed in Melody Maker.

Chrysalis Records had suggested that the band pursue working with an outside producer on their next album. Canadian producer Bob Ezrin, known for his work with Pink Floyd, Kiss and Alice Cooper was initially selected, however after Ezrin had to pull out at the last minute, American producer Keith Olsen was selected. Recording resumed at Maison Rouge in November 1981 with the newly completed band and Olsen producing. The band quickly found Olsen`s working style clashing with theirs; while Anderson described Olsen as `a nice enough chap` he described his method of recording with no equalization or effects as `a way of working that was completely alien to me`. Other members of the band also found themselves in disagreement with Olsen, including Pegg who described Olsen`s selection as `record company shite`. The band were also disturbed that Olsen`s `personal lifestyle choices were not those of the rest of us.`[5]

Former Yardbird Paul Samwell-Smith was ultimately brought in as a new producer for the album after a recommendation from Conway, who had previously worked with him in Cat Stevens` band. Samwell-Smith arrived in mid-December and the band recorded with him until the album was mastered in February 1982. Samwell-Smith, who described his role on the album as `very much a case of looking to Ian to see what he wanted and then to help him do it`, was praised by the band who found him easy to work with. The album was the last recorded by Tull at Maison Rouge, as Anderson sold it in 1983.[6]

The album was originally intended to be called Beastie, corresponding to the first track on side one. But during production, the band deliberated over the preference between Beastie and Broadsword, the first track on side two. In the end, they decided (as on Aqualung) to give each side its own title and thus its own identity, and this time to combine both in the album title.

Artwork and packaging
The cover art was illustrated by American artist Iain McCaig, a longtime fan of the band who later went on to work as a concept artist for successful film series including Star Wars, Harry Potter and the Marvel Cinematic Universe. McCaig was such a fan of the band that he cancelled a surprise trip to Paris where he planned to propose to his girlfriend so that he could get the job to design the cover. The art was made after McCaig visited Maison Rouge to meet the band and discuss the cover with Anderson, who gave McCaig a cassette of demos to listen to. McCaig has stated that he intentionally drew hidden `easter eggs` in the album art, including runes on the back cover which spell out the initials of McCaig`s brother.[7][8]

The edges of the front cover feature writing in Anglo-Saxon runes, which translate to the opening verse of the song `Broadsword`:

`I see a dark sail on the horizon, set under a black cloud that hides the sun. Bring me my broadsword and clear understanding. Bring me my cross of gold as a talisman.`

All tracks are written by Ian Anderson with additional material by Peter-John Vettese

Side one – Beastie
No. Title Length
1. `Beastie` 3:58
2. `Clasp` 4:18
3. `Fallen On Hard Times` 3:13
4. `Flying Colours` 4:39
5. `Slow Marching Band` 3:40
Side two - Broadsword
No. Title Length
1. `Broadsword` 5:03
2. `Pussy Willow` 3:55
3. `Watching Me, Watching You` 3:41
4. `Seal Driver` 5:10
5. `Cheerio` 1:09
Personnel
Jethro Tull

Ian Anderson – lead vocals, flute, acoustic guitar, Fairlight CMI
Martin Barre – acoustic guitar, electric guitar
Dave Pegg – backing vocals, bass guitar, mandolin
Peter-John Vettese – backing vocals, keyboards, piano, synthesizer
Gerry Conway – drums, percussion
Additional personnel

Robin Black – sound engineering
Jim Gibson – artwork
Leigh Mantle – assistant engineer
Iain McCaig – artwork, illustrations
Paul Samwell-Smith – producer