Jethro Tull/ The Zealot Gene

BY NARENDRA KUSNUR 

Jethro Tull/ The Zealot Gene

Genre: Rock

Label: InsideOut Music

Rating: *** 1/2

There has been plenty of debate whether Ian Anderson's latest record should have been clubbed in the solo category or given the Jethro Tull moniker. A large section of the British band's followers felt Tull ceased to exist after long-time guitarist Martin Barre's departure, with Anderson releasing only solo albums. The frontman's opinion is that this music was created with the band in mind, and thus it is a band album.

Either way, it doesn't matter. Anderson has been the brawn and brain behind the band since its debut album This Was in 1968. As such, the songs on the new album The Zealot Gene sound like vintage Tull, and yet aren't too different from the ones appearing on the solo albums The Secret Language Of Birds and Homo Erraticus. 

In many ways, this album could have been written in the aftermath of 1979's Stormwatch, retaining the classic sound without showing signs of the electronic influences that impacted the band in the 1980s. There are the expectedly brilliant flute passages and trademark acoustic guitars, with the electric guitars showing shades of Barre-time glory. There's a mix of hard songs and semi-acoustic pieces, with occasional use of harmonica and accordion.

The major difference, of course, is that Anderson's voice is 40 years older. Considering he had some issues with his vocals a couple of years ago, he sticks to a comfortable range, and delivers the goods. Lyrically, his style has mostly been impressionistic over the years, based on observation. Often, the meanings are subject to interpretation. Here, he makes references to Biblical passages and terms, without being too professorial and preachy. Someone with a deep knowledge of the subject would be in a better position to analyse the lyrical content, but let's suffice it to say that Anderson has been inspired by both positive and negative things mentioned in the scriptures.

The album has 12 songs spread over 47 minutes. The opening track 'Mrs Tibbets' sets the pace with its energetic flute intro and vibrant The Edge-styled guitar interlude. The lines, "Blinkered against the harsh and raging sun, they said, divert your gaze, don't look behind" set things in motion.

A melodic harmonica kicks of the short piece 'Jacob's Tales', with gentle acoustic guitar caressing the backdrop. 'Mine Is The Mountain' is one of the album's highlights, with its 1970s progressive rock structure and reference to the Moses story. A soft piano blends beautifully with flute, electric guitar and drums, with Anderson's voice sounding great.

This is followed by the three songs which were released as singles in the album's build-up, beginning with the title track. Then, 'Shoshana Sleeping' has typical Anderson lines like, "Sweet sadness fills my heart, offered chances best not taken, Unsullied, no vainglory, chapter, verse, another story". 'Sad City Sisters' sounds like it was written for the 1977 album Songs From The Wood, with its charming melody and haunting accordion. 

One does feel the album slows down and gets formulaic after this, but then, going by the experience of listening to Tull over the years, there have been many instances when songs have grown after numerous listens. Barring the case of the three earlier singles, this review was written after five complete album listens, with a couple of songs getting extra repeats. Maybe another 10 replays would change the writer's reaction either way.

Yet, a couple of numbers do sound fantastic in the second half. 'Where Did Saturday Go' is perhaps the most accessible song here, as Anderson uses flute and acoustic guitar to talk about different moods on Friday, Saturday and Sunday. Also in the acoustic space is 'Three Loves, Three', which grows slowly but steadily.

Many of the songs - including the last two 'In Brief Visitation' and 'The Fisherman of Ephysus' - begin with typical flute passages. Maybe the song openings needed more variety, though that style is obviously Anderson's forte. 

Clearly, this is one of the better 'Jethro Tull' albums after 1982's Broadsword And The Beast. Though Crest Of A Knave won a Grammy, this writer preferred the blues-tinged Catfish Rising and 1995's Roots To Branches. Of course, some of the Anderson solo albums were brilliant in their own.space, and one must make special mention of the grossly-underrated Thick As A Brick 2.

By all means, The Zealot Gene is a reflection of Anderson's longevity as a composer and wordsmith, and unparalleled virtuosity as a flautist. This may be nowhere near the 1970s classics, but it's a huge thing to create such songs after 54 years in the field.

Line-up

Ian Anderson - vocals, flute, acoustic guitar

Florian Opahle - electric guitar

John O'Hara - keyboards/ accordion

David Goodier - bass

Scott Hammond - drums