Ted, the pretty parts more than make up for the fussiness. Your sperm's in the gutter, your love's in the sink. Have you seen the Jack in the Green? I'm a bad dream that you just had today. The wise men don't know how it feels...to be thick as a brick. Sitting on a park bench eying little girls with bad intent. Snot was running down his nose. Greasy fingers smearing shabby clothes. Teacher, that is what I call myself. Stormwatch, Ted.

I'm the first to admit that Jethro Tull had "pretty parts", but I would reserve that classification for the those musical moments where a shining bit of ensemble work actually clicked and highlighted a fine band raging happily along with some problematic time signatures. In that vein, I rather like the Martin Barre composed introduction to "Minstrel in the Gallery", a tour de force of quirky transitions and sculpted dissonance that rises to actual art. Compression and brevity are the keys to those instances when JT catches my attention, but as often as not Anderson refuses to move from his signature amalgam of styles he likes and provides than is needed, or even effective, in the then-mistaken belief that length of composition and promiscuously convolutions of theme equals serious art. I was always one who preferred their progressive rock not to drag along the road. Lyrically, principle songwriter Ian Anderson is not so stunning ; he had an effective light touch with imagery in the early work like "Living in the Past" or the particularly riveting tune "Nothing to Say"; 'though perhaps guised in a fictional character's persona, Anderson all the same connects with a convincing humanity as matters of being alive without certainty are sussed through impressionistically and, yes, concisely,closer to true poetry . The man had a knack, in the day, of getting to the point and getting you to think about things other than material gain. That word smithing, I think, has been far less in evidence since their career took off, from 'Aqualung" on ward.