The Broadsword and The Beast (Steven Wilson Remix, 40th Anniversary Edition) Jethro Tull

• 1 Beastie (Steven Wilson Remix) 04:00
• 2 Clasp (Steven Wilson Remix) 04:18
• 3 Fallen on Hard Times (Steven Wilson Remix) 03:13
• 4 Flying Colours (Steven Wilson Remix) 04:40
• 5 Slow Marching Band (Steven Wilson Remix) 03:41
• 6 Broadsword (Steven Wilson Remix) 04:54
• 7 Pussy Willow (Steven Wilson Remix) 03:55
• 8 Watching Me, Watching You (Steven Wilson Remix) 03:41
• 9 Seal Driver (Steven Wilson Remix) 05:15
• 10 Cheerio (Steven Wilson Remix) 01:07
• 11 Fallen on Hard Times (1st Master, Dec ’81 Sessions) [Steven Wilson Remix] 03:51
• 12 Beastie (2nd Master, Dec ’81 Sessions) [Steven Wilson Remix] 03:51
• 13 Fallen on Hard Times (2nd Master, Dec ’81 Sessions) [Steven Wilson Remix] 03:58
• 14 Seal Driver (1st Master, Dec ’81 Sessions) [Steven Wilson Remix] 05:02
• 15 Cheerio (Ensemble Vocal Version) [Steven Wilson Remix] 00:37
• 16 Jack-A-Lynn (Acoustic Version) [Steven Wilson Remix] 04:11
• 17 Beastie Band Shouts! (Steven Wilson Remix) 00:30
• Total Runtime 01:00:44

Info for The Broadsword and The Beast (Steven Wilson Remix, 40th Anniversary Edition)

Known for their innovative fusion of progressive rock and folk influences, Jethro Tull announces 40th anniversary editions of their 14th album, The Broadsword and the Beast. Originally released in 1982, it was a groundbreaking album that captivated fans with its distinctive blend of rock, folk, and progressive influences. The album's masterful storytelling, accompanied by Ian Anderson's unmistakable flute melodies, garnered critical acclaim and has become a fan favorite over the years.

The Broadsword and the Beast is a cross between the synthesizer sound of the 1980s and the folk-influenced style that Tull had in the previous decade.

"I take the opportunity to acknowledge there’s been a veritable onslaught of my classic album remix projects announced over the last few weeks (and there’s more to come). Many of these were done over a very long period – this one for example completed nearly 2 years ago – but Covid and other issues have conspired to make it look like I haven’t slept this year!" (Steven Wilson)

"The cover of this first actual Jethro Tull album since 1979's Stormwatch depicts Ian Anderson as an elf-warrior, with wings and a sword, and a ship with a stylized Norse dragon's head. Anyone expecting a fantasy or heavy metal album was due for a disappointment, however, for most of the songs that have any identifiable references are about topical politics more than anything else. Martin Barre's electric guitars share the spotlight for the first time with Peter-John Vettesse's synthesizers, and Anderson is still playing lilting tunes on his flute and acoustic guitar. Tull's electric sound, this time in the hands of ex-Yardbird Paul Samwell-Smith, is smoother, less heavy, and more thinly textured than their past work, and there are times -- most especially on "Flying Colours" -- where they could almost pass for the latter-day Moody Blues, something the band never would have permitted in earlier days (though if the Moodies could rock this hard and fast, it would be an achievement -- for them!). "Broadsword" and "Pussy Willow" are easily the two best songs here, and not coincidentally the two that owe the most to traditional folk music in their structure. Most of the rest is little better than tuneless drivel." (Bruce Elder, AMG)

Ian Anderson, lead vocals, flute, acoustic guitar, Fairlight CMI
Martin Barre, acoustic guitar, electric guitar
Dave Pegg, backing vocals, bass guitar, mandolin
Peter-John Vettese, backing vocals, keyboards, piano, synthesizer
Gerry Conway, drums, percussion

Digitally remastered

Jethro Tull
formed in February 1968 from the ashes of two unsuccessful blues/rock bands of the era. Ian Anderson brought his unique and innovative style of flute playing to a public raised on the guitar based British bands who courted acceptance at London’s famous Marquee Club.

After their first tentative blues oriented album, titled “This Was,” the group moved through successive records towards a more progressive sound, and with “Aqualung” in 1971 achieved their first real international level of success.

A few hit singles, notably “Living in the Past,” livened up their early career although it was as an album band, with songs of real substance, that the group really took off, both on record and as a major live concert act.

So-called concept albums followed in the early 70’s (“Thick as a Brick” and “A Passion Play”) with the attendant platinum No. 1 album chart sales.

Tull survived the critical backlash of the return-to-basics later 70’s to produce some of their finest creative efforts which, although not quite matching the commercial success of the previous works, established the band as one of the truly creative exponents of progressive music throughout the 70’s, 80’s and 90’s.

They have continued to constantly reinvent themselves, albeit with several personnel changes along the way.

Ian Anderson (flute and vocals) and Martin Barre (guitar) provide to this day the musical and historical backbone of the group, joined by Doane Perry on drums, Andrew Giddings on keyboards, and Jonathan Noyce on bass.

This album contains no booklet.