Recommended Albums #100

Jethro Tull: Songs from the Wood (1977)

Never has an album more directly and more perfectly issued its mission statement from the outset.

Like the sound of an old English street herald, Ian Anderson’s a cappella voice opens Jethro Tull’s Songs from the Wood with a friendly hail:

Let me bring you songs from the wood
To make you feel much better than you could know

And indeed what follows is a genre-birthing masterpiece blending British folk and progressive rock into something that could be fairly termed Elizabethan Rock–surely making fans of both folk and prog feel better than they could know.

Even many serious Tull fans feel that by 1976 and Too Old to Rock and Roll, Too Young to Die, things had grown a bit stale. Actually, taken as a batch of songs, and featuring as it did the guitar work of Martin Barre, it was a rather nice record.

But as a conceptual work about an aging rock star, coming at the height of the punk movement, Too Old… may have put Anderson and the band on the wrong side of Cool Street.

Having met, and produced albums by, English folk rock musicians, and having himself recently moved to the countryside, Anderson was inspired to take Tull in a fresh direction.

And as it turns out, the solution to Tull’s music beginning to sound old may have been to make it sound really old. Like, centuries old.

Let me bring you all things refined
galliards and lute songs served in chilling ale…

No one has electrified British folk more credibly with original compositions than Jethro Tull did on Songs from the Wood. It’s unique even within the band’s catalogue. What Fairport Convention and Steeleye Span did in plugging ancient songs into rock band arrangements was amazing. But the songs here aren’t based on centuries-old verse or inspired by particular traditional folk songs. This is all from Ian Anderson’s imagination–like J.R,R, Tolkien creating his own mythology as a setting for his characters. The fact that Anderson isn’t borrowing or reworking old traditionals–combined with the quality of the songwriting–makes this all the more astonishing.

McCartney could write timeless melodies. Brian Wilson could write heavenly harmonies. Cohen and Dylan could write inspired lyrics. But perhaps no other songwriter but Ian Anderson could have given us Songs from the Wood, with its highly literate lyrical sensibilities, evocative settings, its tinge of escapism, and its fantastically complex arrangements, performed by one of the best band lineups ever assembled.

It’s a wonderful blend of the gentle acoustic and the hard rock, along with some lovely singing and harmonizing. At turns mirthful and morose, regal and bawdy, natural and supernatural. Elsewhere we’ve opined on how Prince was comparatively minor league compared to Anderson in terms of dirty-minded double entendre. “Hunting Girl” takes low-minded lust into highbrow territory and is a showcase for guitarist Barre.

A singer of these ageless times.
With kitchen prose and gutter rhymes…

Full disclosure: for decades now I’ve considered this my favorite album by any artist in any genre, and I’ve listened to it literally hundreds of times. And yet I still will hear detail in the arrangements for the first time. How many bands in the current era make rock music so complex, with so many overlapping layers, that you’ll come across musical Easter eggs decades and hundreds of listens later?

One caveat: Like most progressive rock, Songs from the Wood has an appeal that takes multiple listens to be assimilated. I didn’t love it at first. Let it repeat, marinate and sink in.

This is an album that richly rewards repeated listening.

Songs from the wood make you feel much better…

Listen to: “Songs from the Wood”

Listen to: “Jack-in-the-Green”

Listen to: “Cup of Wonder”

Listen to: “Hunting Girl”

Listen to: “Ring Out, Solstice Bells”

Listen to: “Velvet Green”

Listen to: “The Whistler”

Listen to: “Fire at Midnight”

See also: https://edcyphers.com/2020/02/28/unpopular-opinion-prince-lowered-the-bar-for-sexual-innuendo-in-music/

See also: https://edcyphers.com/2012/11/18/songs-you-may-have-missed-242/

See also: https://edcyphers.com/2013/02/24/songs-you-may-have-missed-340/

See also: https://edcyphers.com/2025/03/30/songs-you-may-have-missed-772/

Recommended Albums #99

Tonic: Sugar (1999)

If there was a hidden message in going from bitter to sweet references in the titles of Tonic’s first two albums (their 1996 debut being Lemon Parade) it’s lost on me.

But there’s no denying the honeyed glaze coating the riffs and melodies on their second LP.

Discovering the band’s music post-2010 was probably key to my own appreciation of them. Among the Matchbox Twenty/Third Eye Blind/Toad the Wet Sprocket/Collective Soul thicket of 90’s modern rock, their music had a “heard it before” quality in the minds of some critics.

But to my ears at least, the years have been kind, and Tonic’s earnest lyrics and sturdy–if not groundbreaking–songwriting make for an enjoyable listen in an era when guitar rock isn’t exactly flourishing.

“You Wanted More” graced the American Pie soundtrack and so may be familiar. The song is inspired by the difficulties in striking a balance between life in a touring band and maintaining a relationship.

“Sugar” is breezily romantic; or, if you’re inclined to be critical, a little moist and saccharine. Depends on your taste, really.

“Waiting for the Light to Change” is wistful and evocative, and its title refrain is a metaphor that’ll stop you in your tracks–in a manner of speaking.

“Sunflower” is built on the kind of lively, stomping riff that has me hoping to take advantage of one of the rare opportunities to see these guys live.

Tonic received Grammy nominations and plenty of alternative rock airplay. And yet it seemed they could have been bigger. Perhaps the fact that they weren’t terribly prolific–just four albums released between 1996 and 2010–held them back. Or maybe they were just victims of a glut of guitar rock at the time.

At any rate, some bands and artists deserve to be reevaluated or reappraised outside their original context. I think Tonic is such a band.

Removed from the “Modern Rock” era, it’s just good music.

Listen to: “You Wanted More”

Listen to: “Sugar”

Listen to: “Waiting for the Light to Change”

Listen to: “Sunflower”

See also: https://edcyphers.com/2019/05/11/songs-you-may-have-missed-637/

Recommended Albums #98

Amazing Blondel: Evensong (1970)

So much distinctive pop, rock and folk music has originated on that little island across the pond. Where would we be without the Brits and their flair for the idiosyncratic musical niche?

John Gladwin, Terence Wincott and Edward Baird performed what they themselves called “pseudo-Elizabethan/Classical acoustic music sung with British accents”.

And they weren’t jesting.

To wit: they dressed as bards and played medieval-style ballads and madrigals on recorder, harpsichord, cittern, crumhorn, harmonium, and a type of lute called a theorboe.

There being a dearth of acoustic Elizabethan-style bands to tour with, they opened shows for rockers like Procol Harum, Genesis, Steeleye Span and Free. So as you listen the accompanying anachronistic revelries, try to imagine a concert wherein their music was followed by “All Right Now” for example.

Apparently despite the contrast in styles their sound presented as compared with such rock acts, Blondel were well-received by audiences who hadn’t come specifically to see them, their stage banter and bawdy humor winning over audiences and making new fans.

The trio were known to take upwards of 40 instruments onstage–which could require about 5 hours’ worth of tuning beforehand.

Eventually there arose conflict between the band’s desire for studio and writing time and their manager’s insistence on a demanding touring schedule. This led to primary songwriter Gladwin leaving the band in 1973.

Amazing Blondel carried on subsequently as a duo, shortening their name to Blondel, and producing a brand of folk pop that leaned decidedly less medieval and more towards a mainstream sound.

But while Gladwin was the dominant writing voice, the band produced a fairly unique brand of archaic British folk, which sounds even more distinctive half a century removed from the English folk revival that spawned it.

These songs are simple, not challenging. They’re gentle, not bombastic. They’re humble, not ambitious.

Amazing Blondel’s songs don’t rock. They charm and enchant. If rock music wants to knock you down and carry you off, Blondel would rather court you with a medieval suitor’s chivalry.

Listen to: “Pavan

Listen to: “St. Crispin’s Day”

Listen to: Spring Season

Listen to: “Willowood”

Listen to: “Evensong

Listen to: “Under the Greenwood Tree”

See also: Songs You May Have Missed #847 | Every Moment Has A Song

Recommended Albums #97

The Lover Speaks (1986)

Full disclosure about this one:

I have no idea why I own this CD. I have too many CD’s, this is a given. And it makes for some head-scratching moments when I come across an unfamiliar title in an untended stack on the floor of the spare bedroom I call my “office” (except most “offices” aren’t littered with stacks of under-curated CD’s).

In a recent (brief) spate of tidying said room I came across The Lover Speaks and decided I’d give it a fair listen before banishing it to a “discard” pile.

As I did the accompanying dive into the band’s story, I remained mystified as to why I owned a copy of the one and only official release of a band that never had a hit song, properly speaking. I can only think it was bought on the algorithmic recommendation of a certain online music seller, where I noticed copies are currently selling for prices that would make the most ardent music collector squirm.

The Lover Speaks were vocalist David Freeman and composer/arranger Joseph Hughes. Their 1985 demo tape passed through the hands of the Eurythmics’ Dave Stewart and then Chrissie Hynde on its way to producer Jimmy Iovine, who helped get the duo signed to A&M Records.

They later toured in support of Eurythmics.

But a series of singles failed (“No More ‘I Love You’s'” peaked at #58 in the UK; none of their singles cracked the US charts at all) and a second album was shelved by A&M.

The duo broke up, their main claim to fame being that Annie Lennox turned “No More ‘I Love You’s'” into a solo smash a decade later.

So again, what compelled me to purchase this obscurity? It clearly came recommended in some form or fashion, and I had to determine whether there was any validity to the recommendation.

With each repeat listen as I attended to other tasks, the hooks dug deeper. The songwriting chops sounded keener. The intelligent turns of lyrical phrase came to the fore. And the male/female vocals of Freeman and June Miles Kingstone, swooping and soaring together in an interplay of melody and countermelody made it clear “No More ‘I Love You’s'” was no fluke.

Much of 80’s synth pop was chilly and short on soul. But Freeman’s vocals on “Face Me and Smile” and “Absent One” absolutely ache. His baritone suggests Human League. But the authentic emotional resonance and the soul are closer to Pet Shop Boys or Bryan Ferry.

And I simply can’t understand how “Never to Forget You” missed the American top twenty.

Far from being “No More ‘I Love You’s'” and a bunch of filler, this album sounds like a string of lost mid-80’s new wave hits…or a lesser band’s “Best Of” compilation.

Now I know why it’s in my collection. And I’m glad I got a physical copy while it was still affordable to do so.

Turn an 80’s new wave fan onto this album.

Listen to: “Every Lover’s Sign”

Listen to: “No More ‘I Love You’s'”

Listen to: “Never to Forget You”

Listen to: “Face Me and Smile”

Listen to: “Absent One”

Recommended Albums #96

Ozomatli: Street Signs (2004)

How can one describe LA-based Latin rock band Ozomatli to the uninitiated?

Not in a word or two.

They blend traditional Latin styles with modern rock, funk, jazz, hip-hop, reggae, salsa and, on this their third full-length album, North African and Middle Eastern sounds.

Oh, and the Prague Symphony.

It’s a lot. But it all amalgamates surprisingly well into a multicultural mix that really catches fire in a live setting.

This band can put across an anthemic English-language rock song, croon a hermosa balada en español, and throw a great dance party.

This is the sound of musical inclusivity.

Listen to: “Love and Hope”

Listen to: “(Who Discovered) America?”

Listen to: “Te Estoy Buscando”

Listen to: “Santiago”

Listen to: “Cuando Canto”

See also: https://edcyphers.com/2013/06/19/songs-you-may-have-missed-428/

See also: https://edcyphers.com/2025/12/19/songs-you-may-have-missed-807/

Recommended Albums #95

Jeremy Messersmith: The Reluctant Graveyard (2010)

Minneapolis-based indie-popper Jeremy Messersmith trades in understated, intelligent songs often sung from some sort of outsider/underdog perspective.

Named one of NPR’s top ten albums of 2010, The Reluctant Graveyard is populated with ghouls, monsters, and even a rather pushy “deathbed salesman”.

Messersmith makes surprisingly effective relationship metaphors of these creepy characters on a dark, mostly melancholy-sounding record that evokes some of the Decemberists’ early work.

But lest you think Messersmith and Graveyard are monotonously morose, “Knots” breaks the dour mood with the kind of sprightly pop this guy can pull off every bit as effectively.

Still, the overall vibe is very Tim Burton. If you have a fondness for spooky songs with haunting melodies, you’ll be digging The Reluctant Graveyard

Also the video for “Organ Donor” is rather uh, humerus.

Don’t Miss: “Organ Donor”

Listen to: “Knots”

Listen to: “John the Determinist”

Listen to: “A Girl, a Boy, and a Graveyard”

Listen to: “Deathbed Salesman”

See also: https://edcyphers.com/2018/06/08/songs-you-may-have-missed-628/

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