Tag: DKOMA

On the Third Day was the third album released by the band, issued 197311 in the US on United Artists and 197312 in the UK on Warner Brothers (they had previously been contracted to Harvest).  It made #52 in the US but did not chart in the UK.

Jeff Lynne produced the record and wrote all of the material with one exception, and you can tell that immediately.  I did not think that it was a very good album, but that is just an opinion.

That is not to say that it was a bad album, but I sort of hold a band like ELO to a higher standard.  In all fairness, they had some stiff competition, since The Who released Quadrophenia that year, The Rolling Stones released Goat’s Head Soup, and Pink Floyd released Dark Side of the Moon!

It has been a while since I started this series.  My contributions here, and at my other regular blogs, have been quite spotty for a number of reasons.  Part of it has to do with it having been the holiday season, and things get a bit odd then, but for the most part the holiday season treated me pretty well, except for when it did not.

Another distraction, one that is absolutely necessary for me to do, is to work on cultivating my nascent consulting business.  I write well, am a great scientist, and have skills that include things from analytical chemistry to health and safety expertise to technical writing to expert testimony.  One of my friends that I met here who does consulting work has agreed to work with me over the telephone to assist me in establishing my business.  Any others who might be able to help are strongly encouraged to pitch in as well, because I am sick and tired of feeling useless!

In any event, it is time to get back to what I do well in this series, or at least I think that I do, and that is to provide embedded music, some historical background, and my commentary to bands that catch my interest.  With this in mind, we shall look at the second effort from The Electric Light Orchestra, called ELO 2.

In my opinion it is a very much better album than their debut one.  The band had settled down a bit, and Jeff Lynne was very much in control, for good or ill, by then.  Let us get started!

The Electric Light Orchestra, also known as ELO, were a pretty good British band that officially formed in 1970.  Like many British bands of its era, ELO went through huge personnel changes over the years.  We shall confine our discussion to the band(s) from 1970 to 1983, sort of like what we did with The Moody Blues not that long ago.

The band were founded by Roy Wood (previously leader of the decent British band The Move), and Jeff Lynne (previously from the band The Idle Race, which also had Wood as a member for a while).  Interestingly, The Move continued to record and release records whilst ELO was being formed, largely to pay the bills.

Last time we covered the first side of the 1972 album.  The link in that piece goes to the history of the record and has a link to the wonderful album cover and you should look at that if you have not already.

Since this is one long (21:06 minutes) song, we shall do like we did the last time and break it into chunks.  Just hit the pause button after each chunk and we shall discuss.  For your convenience I have also posted the entire lyrics before the embed.  Here we go!

Last time we sort of did the history about this record, and tonight we shall deal with the first side of the album.  It is quite complex, and is just one long song called “Thick as a Brick Part I”.  Obviously, the second side, to be covered next time, is called “Thick as a Brick Part II”.  Here is how I suggest that you read this blog.

Open a second entry of this in a new tab (if you are using Firefox or other browsers that support multiple tabs).  If not, just open a second browser window.  Use the second one to play the music, and I will give you prompts when to go back the the first one for discussion.  I believe that will be the most efficient way to cover one long (22 minutes, forty seconds) bit of music.  I am going to break it into chunks at what I deem to be different songs.

Last time we discussed the second side of the Jethro Tull album Aqualung, and a fine album that was.  It was critically and commercially well received, but many of the critics expressed the opinion that it was a concept album, with which Ian Anderson strongly disagreed.

There are various accounts of the reason behind Thick as a Brick, and Anderson has been quoted as saying that he wanted to record it to be a parody of “serious” concept albums.  However, in an interview he mentioned some bands that had yet to release a concept album before Thick as a Brick hit the stores.

My personal feeling after reading quite a bit about this is that Anderson did indeed want to write a parody of concept albums, probably because Aqualung was perceived to be one and Anderson had not intended it, and Anderson’s huge ego made him misremember certain facts about just what albums he was parodying.

It has been a while since the last installment due to several reasons, all of them good.  Tonight we shall finish up Aqualung, one of their better efforts.

The link above has the history around the album, so tonight we shall just concentrate on the music.

Aqualung is the forth album by Tull and many people think that it is their best.  I favor Thick as a Brick, but it is still an excellent album.  Rumor has it that critical comments about Aqualung spawned Thick as a Brick, and we shall discuss that in a bit.

It was released on 19710319 on Island Records in the UK and Reprise in the US.  By this time Anderson had completely taken control of the band, and all of the songs are written by him except for the title track which was cowritten by his wife at the time, Jennie.  Anderson, along with Terry Ellis, produced it.

The band lineup was different than that of Benefit, with Jeffrey Hammond replacing replacing Glen Cornick on bass and Barriemore Barlow replacing Clive Bunker on drums.  Remember, Jethro Tull has had more personnel changes than many bands.  Otherwise the lineup was the same as on Benefit.

One of the most complicated bands in many ways is the British band Jethro Tull.  They are complicated in their music, extremely complicated in their personnel, and almost mind bogglingly complicated in insofar as why I adore a limited set of their work and either care not a fig or actually dislike the rest.  I have such a love/hate relationship for any other band.

I do not understand why I feel this way, but I do.  At their best, they are superb.  When they are a bit off they are still better than most bands, but the material that I dislike is just awful, at least in my view.

This is why it has taken me so long to get started with this series.  I generally try to write about things that I have unambiguous feelings, usually bands that I really like.  Sometimes I write about horrible acts, like Ray Stevens, who really never did anything of real merit.  But to write about a band that can move me greatly with some material and with other material make me say, “What IS that?” is quite different.  Please bear with me!

I apologize for being absent last week.  I had a nasty cold and started on this very piece but just did not have the energy to finish it.

I am still doing background on the series about Jethro Tull, but and not ready to start writing the piece yet.  They were much more complicated insofar as the band lineup goes than most of the bands about which I have written, so it is taking some time.

Tonight we are going to look at who I consider to be the greatest rock and roll bass player who ever drew breath, Thunderfingers, aka The Ox.  But he was much more than a great bass player.  He was outstanding on brass instruments, and much of the early work by The Who has a lot of French horn in it.

He was also an accomplished songwriter and singer, and many of his songs were performed by The Who.  Songwriting is much more lucrative than merely performing, so he was always to get more of his songs on records.