Regarding Broadsword And The Beast, that album did good business compared to the band's previous several releases. It went top 20 in the USA, and I believe it did fairly well in Europe also. I bought it upon release. I liked it then, and I like it now. But yes, some of the best songs from the sessions were left off.
Craney is an awesome drummer, but the material on A was not up to Tull standards IMHO, and the boring drumming on all albums since is basically what turned me off from Tull. There are some good tracks here and there, but Tull pretty much ended at Stormwatch for me after Barlow left. Two different animals from the 60s/70s and the 80s onward. They are still one of my favorite bands of all time though. I have all of the box sets but will pass on A.
I can absolutely understand why some aren't on board with Broadsword, but I can't help but feel it's missed for what it is: probably the most successful blend of the synthetic and traditional they'd ever manage before that sort of thing became normal (i.e. when there were no more electric organs or acoustic pianos, just Kurzweils and Yamahas). There are soundscapes that wouldn't be out of place on albums of electronic music blended with mandolins, acoustic guitars, flutes, electric guitars, etc. and none of these things feel out of place. Whatever it's compared to in terms of Tull's past, I feel like it's a very interesting "what if" template for music that I don't feel many have bothered making since.
At least the booklet says its a remix, I am not completely sure if it really is or only eq changes. Also Free Reed have very often false information on the tracks in their boxes and they were involved in the box.
A has some of Tulls best. One of their stronger albums. I find minstrel quite blande for Tull standards. Not very catchy or clever. Just a bit of a drag. Tull needed a break in 75. They got back on track pretty quickly though
Barrie's disappearance is why I didn't listen to "A" until years after its release. As good as Mark Craney is, he's not Barrie. -- Rob
In defense of "A" -- watch or listen to the incredible 1980 tour from Los Angeles and tell me that Mark Craney isn't the best drummer they ever had. Also worth noting is the impressive "A" medley they played to kick off the Roots To Branches tour. Even back then, Ian knew it was a dark-horse album worth revisiting.
That has more to do with Ian’s production than anything else, as I’m sure you Nor is Barrie Mark. That’s why they’re both unique with a unique, identifiable sound. Barrie might not have been a good fit for Jean-Luc Ponty, but Mark sure was.
I am curious what it would have been like if Craney had stayed with Tull. I like Conway's playing on Broadsword though (and apparently so does Ian).
I am not sure. On Crest I like the Drumsound on the tracks Gerry played much more than Doane's. I find Doane's sound extremely midrangey (on each album) while Gerry's has more top end.
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Not hugely different. It's only on there to satisfy my completist tendencies and because there was space!
this is one of my fave tracks from broadsword era. Sounds a bit messy though. Was this a live studio recording?
I just looked it up on YouTube and found the Toronto '87 gig. The Airey intro to LB didn't seem too bad to me but I never saw that tour myself. Although I think Airey is a fantastic player, I never thought of him as the right fit for Tull. I interviewed him a couple of years ago and asked him about it. He spoke with a lot of respect of the guys, but said the music itself wasn't really his cup of tea. While going down the YT rabbit hole a bit, I was amused at this video for Steel Monkey, with Airey pretending to actually play the sequenced parts, and Ian's electric guitar! ...always hilarious in these obvious mimed performances that the audience is expected to believe the band somehow fades out the song at the end.
According to Ian Anderson, the sales in USA was a disappointment, because it was a rather strong rock album which he thought would do better than it did.. But it sold very well in Germany.
Yes Craney was an amazing drummer, and a worthy successor to Barlow from a technical standpoint. However I still think Barlow was the more interesting of the two players, Barlow had that Bruford-esque off-kilter jazzy quality, but was also a precursor to where heavy metal drumming went in the 80s and 90s with his rapid fire double bass kicks. He never seems to get named among the greats but in my opinion Barlow is a Top 5 all-time rock drummer, and deserves to be mentioned alongside Peart, Bonham, etc.