A Passion Play

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A Passion Play
JethroTullAPassionPlay.jpg
Studio album by
Jethro Tull
Released13 July 1973 (UK)
RecordedMarch 1973
Studio Morgan Studios, London
Genre Progressive rock [1]
Length45:07 (original release)
45:37 (2014 remix)
Label Chrysalis
Producer Ian Anderson, Terry Ellis
Jethro Tull chronology
Living in the Past
(1972)		A Passion Play
(1973)		 War Child
(1974)
Singles from
A Passion Play
  1. "A Passion Play [Edit #8]"
    Released: May 1973 [2]
  2. "A Passion Play [Edit #10]"
    Released: August 1973

A Passion Play is the sixth studio album by British progressive rock band Jethro Tull, released in July 1973 in both the UK and US. Following in the same style as the band's previous album Thick as a Brick (1972), A Passion Play is a concept album comprising individual songs arranged into a single continuous piece of music (which was split into two parts across the original vinyl release's two sides). The album's concept follows the spiritual journey of a recently deceased man (Ronnie Pilgrim) in the afterlife, exploring themes of morality, religion and good and evil. The album's accompanying tour was considered the high water mark of Jethro Tull's elaborate stage productions, involving a full performance of the album accompanied by physical props, sketches and projected video. [3]

Contents

A Passion Play was negatively received by critics upon its initial release. However, the album was a commercial success, becoming Jethro Tull's second number one album in the United States.

Background

Following the release of the critically and commercially successful Thick as a Brick in 1972, Jethro Tull made the decision to record their next album at the Château d'Hérouville studios in Hérouville, France, known in the 1970s for being frequented by artists such as Pink Floyd, Elton John and T. Rex. The band were persuaded by their management and accountants to record their next album in tax exile outside of the UK in order to avoid what Anderson described as "a pretty scary tax regime" of the time. [4] The band planned to make a double album, with concepts as varied as the meaning of life, music criticism and the comparison between the man and animal world.

Upon arrival at the Château, however, the band faced a variety of challenges which made the recording sessions difficult, ranging from technical issues with the studio equipment to bug-infested beds and food poisoning epidemics, causing Anderson to give the Château the nickname "Château d'Isaster" [4] Although the band had recorded enough material to fill three sides of the intended double album, the issues living in the studio convinced the band to abandon the sessions and leave the Château. [3] The band considered moving the album's production to Switzerland, for they had just recently been granted Swiss citizenship; however, the decision was ultimately made to return to the UK and completely restart writing and recording of the album (although two tracks from the Château d'Hérouville sessions were later included on the band's 1974 album War Child ).

Recording

Upon returning to the UK, the band began sessions for A Passion Play at Morgan Studios, the same studio where they had recorded most of their last four albums. Anderson felt that "it was better to start again and write a whole new album, instead of trying to somehow regenerate everybody's interest and commitment to something that had already struggled", in reference to the abandoned Château sessions and the decision to start over with new material. [4] The album was written and recorded quickly, as the band had little time before their next tour began. As a result, recording sessions were often lengthy, in some cases lasting all night. Guitarist Martin Barre recalled the sessions as being "long" and "very intense" with Anderson stating that the album needed to be "written and recorded in one block, very quickly". [4] The concept and most of the music were written in the studio by Anderson, with occasional contributions from other members of the band. [4]

Musical style

Continuing the progressive rock style previously explored by the band on Thick as a Brick, A Passion Play featured the band playing a multitude of instruments, heavily toned with dominating minor key variation, resulting in an album described by author Martin Webb as "quasi prog-rock with complex time-signatures, complex lyrics and, well, complex everything, really". [4] The spoken word piece "The Story of the Hare Who Lost His Spectacles", has its relations in musical terms with Prokofiev’s Peter and the Wolf . [3] Bruce Eder describes Anderson's singing in biblical-sounding references, interwoven with modern language as a sort of a rock equivalent to T.S. Eliot's The Waste Land with the music a "dazzling mix of old English folk and classical material, reshaped in electric rock terms". [5] The album is notable for heavily featuring soprano saxophone played by Anderson, often in place of his famous flute playing. Anderson expressed distaste for the instrument, saying that "It wasn't difficult to learn to play it a bit, but I didn't practice enough, I wasn't trained and it hurt my lip. I hated the fiddling about with reeds, the fact that it was all wet and soggy, straight off I really didn't enjoy playing the instrument." [4]

Concept

Background

A Passion Play borrows its title from passion plays which depict the Passion of Jesus Christ, though the title is evidently ironic, since the album at first appears to present a generically Christian view of the afterlife but then rejects Christian theological conclusions. [6] A Passion Play is described in its album liner notes as though it were a staged theatrical "play" in four acts. Of this album, "the lyrics themselves are extremely complicated, the story is often unclear, and much is left to the individual's interpretation." [6] Knowledge of the characters and setting actually comes less from the music itself and more from the few brief words in the satirical, six-page Linwell Theatre "programme" included in the original album packaging, which features photos of the band members listed alongside fake names and biographies as the "actors" of the play, and includes a cast and crew directory, including Rena Sanderone (an anagram of "Eean Anderrson") as the author of the play. [7] A basic narrative plot can be loosely interpreted from the lyrics, liner notes, and "programme" of A Passion Play, centring on everyman protagonist Ronnie Pilgrim, who is named only in the programme.

Anderson described his conceptual inspiration for A Passion Play as "A fascination that I had about the possibility of a hereafter, that touches upon the conventions of popular religion, and Christianity in particular. It recognizes that age-old conflict between good and bad, God and the Devil, and tries to bring it to some theatrical life, to give character, to give expression, to give... I suppose a sense of vulnerability and less than perfect sense regarding the identities of the personifications of good and evil. But basically it's a kind of slightly tongue-in-cheek look at what might happen when you die." [4]

Plot synopsis

Ronnie Pilgrim recognises his own death and, in ghostly form, attends his own funeral, before traversing a purgatorial desert and "icy wastes", where he is visited by a smiling angel guide (Act 1). Pilgrim is next admitted into a video viewing room by a Peter Dejour, and events of Pilgrim's life are replayed by a projectionist before a demanding jury. [8] After a long-winded and bizarre evaluation process, the sardonic jury concludes that they "won't cross [Pilgrim] out", suggesting that he has led a mostly decent life and so will be admitted into Heaven, which corresponds with the sudden start of a cheerful "Forest Dance" melody (Act 2).

At this time, the main plot is interrupted by an unrelated, spoken-word comedic interlude (narrated by Jeffrey Hammond with an exaggerated Lancashire accent) backed by instrumentation. Presented as an absurd fable, the interlude details (with much wordplay) the failure of a group of anthropomorphic animals to help a hare find his missing eyeglasses. [9]

The "Forest Dance" melody resumes, and Ronnie Pilgrim now appears in Heaven, two days after his judgment at the viewing room, communicating two unexpected thoughts: "I'll go to the foot of our stairs" (an expression of surprise) and "pie in the sky" (an expression of scepticism about the fulfilment of a reward). Pilgrim's dissatisfaction with Heaven appears to be linked to its mundane atmosphere where most of its residents endlessly reminisce, chronically obsessing over the living. Therefore, unable to adapt, Pilgrim goes to G. Oddie & Son to frankly request a relocation to Hell, feeling that he has a "right to be wrong". [9] Descending into Hell, Pilgrim is confronted by Lucifer (named "Lucy" in the album's fictitious programme), who asserts his cold authority as Pilgrim's "overseer" (Act 3). Pilgrim immediately finds Hell even worse than Heaven and flees, understanding himself now as neither completely good nor evil, wishing that he could trade his "halo for a horn and the horn for the hat I once had". He speaks with a Magus Perdé [10] about his dilemma and, having sampled and rejected both extremes of his afterlife options, he finally stands on a Stygian shore as a "voyager into life". On this beach, other people and animals also prepare to "renew the pledge of life's long song". The final triumphant lyrics include the phrases "ever-burning fire", "ever-door", "ever-life", and moving "from the dark into ever-day", so that the play concludes with a strong implication of eternal rebirth (Act 4). [11]

Reception

Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [1]
The Encyclopedia of Popular Music Star full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svg [12]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [13]
Sea of TranquilityStar full.svgStar full.svgStar full.svgStar full.svgStar full.svg [14]

Upon its original release, it received generally negative reviews. Stephen Holden, writing for Rolling Stone , was broadly negative, saying that the album "strangles under the tonnage of its pretensions — a jumble of anarchic, childishly precocious gestures that are intellectually and emotionally faithless to any idea other than their own esoteric non-logic"; feeling, overall, that, despite the band being "truly virtuosic in the manner of a polished chamber ensemble" and some moments, such as "those interludes that feature Anderson’s extraordinary flute playing" and two "short pastoral sections" that were "especially lovely", the album was "expensive, tedious nonsense". [15] New Musical Express considered the album as "the fall" of Jethro Tull. [16] Even Chris Welch of Melody Maker had a bad impression, stating "Music must touch the soul. A Passion Play rattles with emptiness". [17] Lester Bangs, writing for Creem Magazine , stated that he became "totally bamboozled" after hearing the album. Bangs concluded: "I almost like it, even though it sort of irritates me. Maybe I like it because it irritates me. But that's my problem". [18] Record World said that "the music is expectedly rich and imaginative, if somewhat challenging." [19]

Despite the reviews, A Passion Play sold well enough to reach No. 1 on the charts in the United States and Canada. [20] [21] The album also had good sales in Germany and Norway, where it reached No. 5. In the United Kingdom it reached No. 16. [22] The 2013 box A Passion Play: an Extended Performance achieved the Nº 48 in the Top Rock Albums. [23]

Legacy

Jethro Tull's business manager, Terry Ellis, announced in Melody Maker that the band would retire from live performances in response to negative reviews of the album and concerts. This was just a publicity stunt of which the band had no knowledge; Anderson felt it made them look petulant and brought them the wrong sort of publicity. [24] [25]

A three-star retrospective review by Bruce Eder for AllMusic was gentle in its judgement, saying that "the music puts it over successfully, a dazzling mix of old English folk and classical material, reshaped in electric rock terms. The band is at its peak form, sustaining the tension and anticipation of this album-length piece across 45 minutes, although the music runs out of inspiration about five minutes before it actually ends". [5] PopMatters ranked A Passion Play the 17th best progressive rock album of all time. [26]

Paul Stump, in his History of Progressive Rock, said that "the writing is militantly episodic", with some beautiful moments but an overemphasis on novelty and an overall incoherent sequence of themes that makes the album bemusing and disorienting rather than engaging to the listener. [27]

Some members of the band, in retrospect, expressed distaste for the album, including Anderson, saying that "I've always thought that A Passion Play suffered more than any other album I've ever made from being over-arranged and over-produced and over-cooked" and that Jethro Tull fans who call the album their favourite album of all time "should of course remain in the establishment for the criminally insane in which they probably already reside". Barre has said that he believes that the album exists in "the bottom third of Jethro Tull albums". [4]

Releases

Subsequent to the original 1973 release, the album was released on CD. Later, in March 1998 Mobile Fidelity Sound Lab released a CD, which indexed tracks along the lines of, but not quite matching, the radio-station promo (see below) and in 2003 a remastered CD version with an additional video track was released. [1]

On the original release of the album, side one ends in the middle of "The Story of the Hare Who Lost His Spectacles" (it is the same end on track 1 of the original CD release). The sound at the end of side one was a nod to children storytelling records which signalled the child or parent to flip the record over. Side two begins where it left off. However, on the 2003 remastered CD, the second part begins with the full story so that it does not get cut off in the middle.

In 2014, commemorating the 40th anniversary (slightly belated) of the album, it was released a box called A Passion Play: An Extended Performance, which contains the complete Chateau d’Herouville sessions and brand-new mix by Steven Wilson. This version also includes an additional verse not on the original release of "The Foot Of Our Stairs". It extends the track about another 45 seconds. The DVDs also include the video clips of stage intro film and "The Hare Who Lost His Spectacles". The discs are packaged in a box set along with a book featuring interviews with Wilson, dancer Jane Eve, spun man Chris Amson, plus the memoirs of the Reverend Godfrey Pilchard. [28]

Chateau D'Isaster recordings

Early concepts for the album were developed at the recording studio Château d'Hérouville, which the band, due to difficulties at the studio, playfully referred to as "Chateau D'Isaster". Previously unreleased recordings from these sessions were first offered to public under the title "The Chateau D'Isaster Tapes" on the 1988 compilation 20 Years of Jethro Tull (three recordings) and then in the 1993 compilation Nightcap: The Unreleased Masters 1973–1991 . Nightcap included almost all the recordings with additional flute solos by Ian Anderson.

The full recordings [nb 1] were released in 2014, in the box A Passion Play: An Extended Performance. The box contains previously unreleased tracks such as "Sailor" and "The Big Top" along with the aforementioned "Skating Away" and "Critique Oblique".

  1. ↑ Except for "The Hare...", which was originally part of the third side and subsequently pasted into the Passion Play album

Track listing

These titles were provided by Anderson for the 1973 DJ pressing of the LP, though they were not included for the standard pressing. The gold Ultradisc Original Master Recording CD of Mobile Fidelity Sound Lab (1998) contains cueable tracks for each title, but the standard CD releases contain only one or two tracks, depending on the version.

All songs written by Ian Anderson unless stated otherwise.

1973 original release

Side one
No.TitleLength
1."A Passion Play, part I

I. "Act 1: Ronnie Pilgrim's Funeral — a winter's morning in the cemetery"

a. "Lifebeats" (Instrumental)
b. "Prelude" (Instrumental)
c. "The Silver Cord"
d. "Re-Assuring Tune" (Instrumental)

II. "Act 2: The Memory Bank — a small but comfortable theatre with a cinema-screen (the next morning)"

a. "Memory Bank"
b. "Best Friends"
c. "Critique Oblique"
d. "Forest Dance #1" (Instrumental)

III. "Interlude: The Story of the Hare Who Lost His Spectacles"

a. "The Story of the Hare Who Lost His Spectacles" (Jeffrey Hammond, John Evan, Ian Anderson)
23:09

9:08

  • 1:14
  • 2:14
  • 4:29
  • 1:11

12:31

  • 4:20
  • 1:58
  • 4:38
  • 1:35

1:30

  • 1:30
Side two
No.TitleLength
2."A Passion Play, part II

I. "Interlude: The Story of the Hare Who Lost His Spectacles"

a. "The Story of the Hare Who Lost His Spectacles" (Hammond, Evan, Anderson)

II. "Act 3: The Business Office of G. Oddie & Son (two days later)"

a. "Forest Dance #2" (Instrumental)
b. "The Foot of Our Stairs"
c. "Overseer Overture"

III. "Act 4: Magus Perdé's Drawing Room at Midnight"

a. "Flight from Lucifer"
b. "10:08 to Paddington" (Instrumental)
c. "Magus Perdé"
d. "Epilogue"
21:58

2:48

  • 2:48

9:30

  • 1:12
  • 4:18
  • 4:00

9:40

  • 3:58
  • 1:04
  • 3:55
  • 0:43
Total length:45:07

1998 Ultradisc Original Master Recording Gold CD (Mobile Fidelity Sound Lab UDCD 720)

Gold CD Edition
No.TitleLength
1."Lifebeats"1:14
2."Prelude"2:14
3."The Silver Cord"4:29
4."Re-Assuring Tune"1:11
5."Memory Bank"4:20
6."Best Friends"1:58
7."Critique Oblique"4:38
8."Forest Dance No. 1"1:35
9."The Story of the Hare Who Lost His Spectacles"4:18
10."Forest Dance No. 2"1:12
11."The Foot of Our Stairs"4:18
12."Overseer Overture"4:00
13."Flight from Lucifer"3:58
14."10:08 to Paddington"1:04
15."Magus Perdé"3:55
16."Epilogue"0:43

2003 Remastered 30th Anniversary Edition

The same listing from 1998 with a Quick Time video
No.TitleNotesLength
1."The Story of the Hare Who Lost His Spectacles"The 2003 release includes this additional 7-minute QuickTime video, [1] which was used in the original APP concerts. 

2014 An Extended Performance

CD 1: Steven Wilson stereo remix of the album
No.TitleLength
1."Lifebeats / Prelude (Instrumental)"3:24
2."The Silver Cord"4:28
3."Re-Assuring Tune (Instrumental)"1:11
4."Memory Bank"4:20
5."Best Friends"1:56
6."Critique Oblique"4:35
7."Forest Dance #1 (Instrumental)"1:34
8."The Story of the Hare Who Lost His Spectacles"4:10
9."Forest Dance #2 (Instrumental)"1:12
10."The Foot of Our Stairs"5:08
11."Overseer Overture"3:58
12."Flight from Lucifer"3:56
13."10:08 to Paddington"1:04
14."Magus Perdé"3:53
15."Epilogue (Instrumental)"0:44
CD 2: Steven Wilson stereo remix of The Château d'Hérouville Sessions
No.TitleLength
1."The Big Top"3:05
2."Scenario"3:25
3."Audition"2:33
4."Skating Away on the Thin Ice of the New Day"3:27
5."Sailor"3:10
6."No Rehearsal"5:09
7."Left Right"5:02
8."Only Solitaire"1:28
9."Critique Oblique (Part I)"8:50
10."Critique Oblique (Part II)"5:28
11."Animelee (1st Dance) (Instrumental)"3:36
12."Animelee (2nd Dance) (Instrumental)"1:34
13."Law of the Bungle (Part I)"5:08
14."Tiger Toon"2:31
15."Law of the Bungle (Part II)"5:28
DVD 1: Steven Wilson 5.1 surround and stereo mixes and flat transfer of the original stereo mix of the album and video clips of The Story of the Hare Who Lost His Spectacles and intro and outro film footage used in the 1973 tour
No.TitleLength
1."Lifebeats / Prelude" (5.1 Surround Mix)3:24
2."The Silver Cord" (5.1 Surround Mix)4:28
3."Re-Assuring Tune (Instrumental)" (5.1 Surround Mix)1:11
4."Memory Bank" (5.1 Surround Mix)4:20
5."Best Friends" (5.1 Surround Mix)1:56
6."Critique Oblique" (5.1 Surround Mix)4:35
7."Forest Dance #1" (5.1 Surround Mix)1:34
8."The Story of the Hare Who Lost His Spectacles" (5.1 Surround Mix)4:10
9."Forest Dance #2" (5.1 Surround Mix)1:12
10."The Foot of Our Stairs" (5.1 Surround Mix)5:08
11."Overseer Overture" (5.1 Surround Mix)3:58
12."Flight from Lucifer" (5.1 Surround Mix)3:56
13."10:08 to Paddington" (5.1 Surround Mix)1:04
14."Magus Perdé" (5.1 Surround Mix)3:53
15."Epilogue" (5.1 Surround Mix)0:44
16."Lifebeats / Prelude" (2014 Stereo Mix)3:24
17."The Silver Cord" (2014 Stereo Mix)4:28
18."Re-Assuring Tune" (2014 Stereo Mix)1:11
19."Memory Bank" (2014 Stereo Mix)4:20
20."Best Friends" (2014 Stereo Mix)1:56
21."Critique Oblique" (2014 Stereo Mix)4:35
22."Forest Dance #1" (2014 Stereo Mix)1:34
23."The Story of the Hare Who Lost His Spectacles" (2014 Stereo Mix)4:10
24."Forest Dance #2" (2014 Stereo Mix)1:12
25."The Foot of Our Stairs" (2014 Stereo Mix)5:08
26."Overseer Overture" (2014 Stereo Mix)3:58
27."Flight from Lucifer" (2014 Stereo Mix)3:56
28."10:08 to Paddington" (2014 Stereo Mix)1:04
29."Magus Perdé" (2014 Stereo Mix)3:53
30."Epilogue" (2014 Stereo Mix)0:44
31."Lifebeats / Prelude" (Original Stereo Mix)3:24
32."The Silver Cord" (Original Stereo Mix)4:28
33."Re-Assuring Tune" (Original Stereo Mix)1:11
34."Memory Bank" (Original Stereo Mix)4:20
35."Best Friends" (Original Stereo Mix)1:56
36."Critique Oblique" (Original Stereo Mix)4:35
37."Forest Dance #1" (Original Stereo Mix)1:34
38."The Story of the Hare Who Lost His Spectacles" (Original Stereo Mix)4:10
39."Forest Dance #2" (Original Stereo Mix)1:12
40."The Foot of Our Stairs" (Original Stereo Mix)5:08
41."Overseer Overture" (Original Stereo Mix)3:58
42."Flight from Lucifer" (Original Stereo Mix)3:56
43."10:08 to Paddington" (Original Stereo Mix)1:04
44."Magus Perdé" (Original Stereo Mix)3:53
45."Epilogue" (Original Stereo Mix)0:44
46."The Story of the Hare Who Lost His Spectacles video clip from the 1973 tour" 
47."Intro and outro video clip from the 1973 tour" 
DVD 2: Steven Wilson 5.1 surround and stereo mixes of The Château d'Hérouville Sessions
No.TitleLength
1."The Big Top" (5.1 Surround Mix)3:05
2."Scenario" (5.1 Surround Mix)3:25
3."Audition" (5.1 Surround Mix)2:33
4."Skating Away on the Thin Ice of the New Day" (5.1 Surround Mix)3:27
5."Sailor" (5.1 Surround Mix)3:10
6."No Rehearsal" (5.1 Surround Mix)5:09
7."Left Right" (5.1 Surround Mix)5:02
8."Only Solitaire" (5.1 Surround Mix)1:28
9."Critique Oblique (Part I)" (5.1 Surround Mix)8:50
10."Critique Oblique (Part II)" (5.1 Surround Mix)5:28
11."Animelee (1st Dance)" (5.1 Surround Mix)3:36
12."Animelee (2nd Dance)" (5.1 Surround Mix)1:34
13."Law of the Bungle (Part I)" (5.1 Surround Mix)5:08
14."Tiger Toon" (5.1 Surround Mix)2:31
15."Law of the Bungle (Part II)" (5.1 Surround Mix)5:28
16."The Big Top" (2014 Stereo Mix)3:05
17."Scenario" (2014 Stereo Mix)3:25
18."Audition" (2014 Stereo Mix)2:33
19."Skating Away on the Thin Ice of the New Day" (2014 Stereo Mix)3:27
20."Sailor" (2014 Stereo Mix)3:10
21."No Rehearsal" (2014 Stereo Mix)5:09
22."Left Right" (2014 Stereo Mix)5:02
23."Only Solitaire" (2014 Stereo Mix)1:28
24."Critique Oblique (Part I)" (2014 Stereo Mix)8:50
25."Critique Oblique (Part II)" (2014 Stereo Mix)5:28
26."Animelee (1st Dance)" (2014 Stereo Mix)3:36
27."Animelee (2nd Dance)" (2014 Stereo Mix)1:34
28."Law of the Bungle (Part I)" (2014 Stereo Mix)5:08
29."Tiger Toon" (2014 Stereo Mix)2:31
30."Law of the Bungle (Part II)" (2014 Stereo Mix)5:28

Personnel

Jethro Tull
Additional personnel

Charts

Certifications

RegionCertification Certified units/sales
United Kingdom (BPI) [40] Silver60,000^
United States (RIAA) [41] Gold500,000^

^ Shipments figures based on certification alone.

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War Child is the seventh studio album by Jethro Tull, released in October 1974. It was released almost a year and a half after the release of A Passion Play. The turmoil over criticism of the previous album surrounded the production of War Child, which obliged the band to do press conferences and explain their plans for the future.

<i>Benefit</i> (album) 1970 studio album by Jethro Tull

Benefit is the third studio album by the British rock band Jethro Tull, released in April 1970. It was the first Tull album to include pianist and organist John Evan – though he was not yet considered a permanent member of the group – and the last to include bass guitarist Glenn Cornick, who was fired from the band upon completion of touring for the album. It was recorded at Morgan Studios, the same studio where the band recorded its previous album Stand Up; however, they experimented with more advanced recording techniques.

<i>The Broadsword and the Beast</i> 1982 studio album by Jethro Tull

The Broadsword and the Beast is the 14th studio album by rock band Jethro Tull, released in April 1982 by Chrysalis Records. The album's musical style features a cross between the dominant synthesizer sound of the 1980s and the folk-influenced style that Jethro Tull used in the previous decade. As such, the band's characteristic acoustic instrumentation is augmented by electronic soundscapes. The electronic aspects of this album would be explored further by the band on their next album, Under Wraps (1984), as well as on Ian Anderson's solo album Walk into Light (1983).

<i>Crest of a Knave</i> 1987 studio album by Jethro Tull

Crest of a Knave is the sixteenth studio album by British rock band Jethro Tull, released in 1987. The album was recorded after a three-year hiatus caused by a throat infection of vocalist Ian Anderson, resulting in his changed singing style. Following the unsuccessful electronic rock album Under Wraps, Crest of a Knave had the band returning to a more hard rock sound. The album was their most successful since the 1970s and the band enjoyed a resurgence on radio broadcasts, appearances in MTV specials and the airing of music videos. It was also a critical success, winning the 1989 Grammy Award for Best Hard Rock/Metal Performance Vocal or Instrumental in what was widely viewed as an upset over the favorite, Metallica's ...And Justice for All. The album was supported by "The Not Quite the World, More the Here and There Tour".

<i>Nightcap: The Unreleased Masters 1973–1991</i> 1993 compilation album of outtakes by Jethro Tull

Nightcap: The Unreleased Masters 1973–1991 is a double compilation album by British rock band Jethro Tull, released on 22 November 1993. It contains much of the band's previously unreleased material.

"Mother Goose" is a song by the British progressive rock band Jethro Tull. It is the fourth track from their album Aqualung which was released in 1971.

<i>Thick as a Brick 2</i> 2012 studio album by Ian Anderson

Thick as a Brick 2, abbreviated TAAB 2 and subtitled Whatever Happened to Gerald Bostock?, is the fifth studio album by Jethro Tull frontman Ian Anderson, released in 2012 as a follow-up of Thick as a Brick, Jethro Tull's 1972 parody concept album. It entered the Billboard chart at No. 55.

<span class="mw-page-title-main">Bungle in the Jungle</span> 1974 single by Jethro Tull

"Bungle in the Jungle" is a song by British progressive rock band Jethro Tull. It was released on their album War Child in 1974.

<span class="mw-page-title-main">The Witch's Promise</span> 1970 single by Jethro Tull

"The Witch's Promise" is a single by the British rock band Jethro Tull, released in January 1970, on the Chrysalis label. It reached No. 4 in the UK Singles Chart, and was promoted by an appearance on the British chart show Top of the Pops. The B-side was "Teacher", an alternate version of which later appeared on the US release of the album Benefit. In the U.S., the single was released on the Reprise label.

<span class="mw-page-title-main">Skating Away on the Thin Ice of the New Day</span> 1975 single by Jethro Tull

"Skating Away on the Thin Ice of the New Day" is a song by British progressive rock band Jethro Tull. It was released on their album War Child in 1974. Written as a comment on global cooling for the band's aborted "Chateau D'isaster" album, the song was reworked in 1974 for War Child.

<span class="mw-page-title-main">Teacher (Jethro Tull song)</span> 1970 single by Jethro Tull

"Teacher" is a song by the British rock band Jethro Tull, first released as the B-side to the January 1970 single "The Witch's Promise", on the Chrysalis label. Written by the band's frontman Ian Anderson, the song is a comment on the corruption of self-styled gurus who used their followers for their own gain.

References

  1. 1 2 3 4 Eder, Bruce. Jethro Tull - A Passion Play (1973) album review, credits & releases at AllMusic. Retrieved 16 August 2011.
  2. ↑ Strong, Martin Charles (1995). The Great Rock Discography. p. 434. ISBN   9780862415419.
  3. 1 2 3 "A Passion Play". Jethrotull.com. 6 July 1973. Retrieved 11 July 2023.
  4. 1 2 3 4 5 6 7 8 9 Webb, Martin (2014). "Passionate Players". A Passion Play: An Extended Performance. Chrysalis Records.
  5. 1 2 Eder, Bruce. "Jethro Tull - A Passion Play (1973) album review, credits & releases". AllMusic . Retrieved 1 May 2015.
  6. 1 2 "The core narrative of Jethro Tull's 'A Passion Play' explained at the Ministry Of Information". Neil Thomason (NRT). 2003. Retrieved 1 May 2015.
  7. ↑ "A Passion Play – Linwell Theatre Program". J-tull.com. Archived from the original on 4 October 2010. Retrieved 8 March 2012.
  8. ↑ "Voorbij, Jan (2009). An introduction to "A Passion Play" at www.CupOfWonder.com". Archived from the original on 30 June 2016. Retrieved 22 June 2016.
  9. 1 2 Smolko, Tim (2013). Jethro Tull's Thick as a Brick and A Passion Play: Inside Two Long Songs. Indiana University Press. pp. 126-127
  10. ↑ "Magus Perde - analysis of Act Four of Jethro Tull's 'A Passion Play', annotated at the Ministry Of Information". Ministry-of-information.co.uk. Retrieved 19 May 2021.
  11. ↑ "Jethro Tull Tour History, annotated Passion Play and blog, at the Ministry Of Information". Ministry-of-information.co.uk. Retrieved 1 May 2015.
  12. ↑ Larkin, Colin (2007). The Encyclopedia of Popular Music (4th ed.). Oxford University Press. ISBN   978-0195313734.
  13. ↑ Brackett, Nathan; Hoard, Christian David (2004). The New Rolling Stone Album Guide. Simon & Schuster. p.  430. ISBN   0-7432-0169-8.
  14. ↑ Pettengill, Steve (2003). "Review: 'Jethro Tull: A Passion Play (remaster) – Sea of Tranquility – The Web Destination for Progressive Music!". SeaOfTranquility.org. Retrieved 19 August 2019.
  15. ↑ "Jethro Tull Press: Rolling Stone, 30 August 1973". Tullpress.com. 30 August 1973. Archived from the original on 3 March 2016. Retrieved 1 May 2015.
  16. ↑ "Jethro Tull Press: NME, 21 July 1973". Tullpress.com. 21 July 1973. Archived from the original on 3 March 2016. Retrieved 1 May 2015.
  17. ↑ "Jethro Tull Press: Melody Maker, 21 July 1973". Tullpress.com. 21 July 1973. Archived from the original on 3 March 2016. Retrieved 1 May 2015.
  18. ↑ "Jethro Tull Press: Creem, May 1973". Tullpress.com. Retrieved 1 May 2015.
  19. ↑ "Hits of the Week" (PDF). Record World. 14 July 1973. p. 1. Retrieved 23 March 2023.
  20. ↑ Billboard chart info A Passion Play at AllMusic . Retrieved 16 August 2011.
  21. ↑ "Album artist 51 - Jethro Tull". Tsort.info. Retrieved 1 May 2015.
  22. ↑ "Official Charts Company of Jethro Tull A Passion Play". Official Charts Company . Retrieved 16 August 2011.
  23. ↑ "Album Search for "a passion play"". AllMusic . Retrieved 19 May 2021.
  24. ↑ "Melody Maker". tullpress.com. 25 August 1973. Archived from the original on 4 March 2016. Retrieved 12 May 2015.
  25. ↑ "Press". Jethrotull.com. Retrieved 1 May 2015.
  26. ↑ Murphy, Sean. "The 25 Best Classic Progressive Rock Albums". PopMatters.com. Retrieved 19 May 2021.
  27. ↑ Stump, Paul (1997). The Music's All that Matters: A History of Progressive Rock. Quartet Books Limited. p. 168. ISBN   0-7043-8036-6.
  28. ↑ "Jethro Tull's Passion Play gets extended edition - Prog". Prog.teamrock.com. Retrieved 1 May 2015.
  29. ↑ Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Book. ISBN   0-646-11917-6.
  30. ↑ "Austriancharts.at – Jethro Tull – A Passion Play" (in German). Hung Medien. Retrieved 22 April 2018.
  31. ↑ "Top RPM Albums: Issue 4889". RPM . Library and Archives Canada. Retrieved 27 April 2018.
  32. ↑ "Danish Albums Chart". DanskeHitLister.dk. Retrieved 19 May 2021.
  33. ↑ Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1st ed.). Helsinki: Kustannusosakeyhtiö Otava. ISBN   978-951-1-21053-5.
  34. ↑ "Offiziellecharts.de – Jethro Tull – A Passion Play" (in German). GfK Entertainment Charts. Retrieved 26 April 2018.
  35. ↑ "Classifiche". Musica e Dischi (in Italian). Retrieved 20 April 2023. Set "Tipo" on "Album". Then, in the "Artista" field, search "Jethro Tull".
  36. ↑ "Norwegiancharts.com – Jethro Tull – A Passion Play". Hung Medien. Retrieved 22 April 2018.
  37. ↑ "Jethro Tull | Artist | Official Charts". UK Albums Chart. Retrieved 22 April 2018.
  38. ↑ "Jethro Tull Chart History (Billboard 200)". Billboard. Retrieved 22 April 2018.
  39. ↑ "Top 100 Album-Jahrescharts" (in German). GfK Entertainment Charts. 1973. Archived from the original on 23 May 2021. Retrieved 2 April 2022.
  40. ↑ "British album certifications – Jethro Tull – A Passion Play". British Phonographic Industry.
  41. ↑ "American album certifications – Jethro Tull – A Passion Play". Recording Industry Association of America.

Sources

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