|Crest of a Knave|
|Studio album by|
|Released||11 September 1987|
|Genre||Hard rock, progressive rock|
55:50 (2005 remaster)
|Jethro Tull chronology|
| Singles from |
Crest of a Knave
Crest of a Knave is the sixteenth studio album by British rock band Jethro Tull, released in 1987. The album was recorded after a hiatus of three years occasioned by a throat infection of vocalist Ian Anderson, resulting in a changed vocal style by Anderson. After the unsuccessful Under Wraps , the band returned to a more heavily blended electric with acoustic style of sound, one of the top characteristics of Jethro Tull. 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 favourite, winning the 1989 Grammy Award for Best Hard Rock/Metal Performance Vocal or Instrumental. The album was supported by "The Not Quite the World, More the Here and There Tour".
Jethro Tull are a British rock band formed in Blackpool, Lancashire, in 1967. Initially playing blues rock, the band later developed their sound to incorporate elements of hard rock and folk rock to forge a progressive rock signature. The band is led by vocalist/flautist/guitarist Ian Anderson, and has featured a revolving door of lineups through the years including significant members such as guitarists Mick Abrahams and Martin Barre, keyboardist John Evan, drummers Clive Bunker, Barriemore Barlow, and Doane Perry, and bassists Glenn Cornick, Jeffrey Hammond, John Glascock, and Dave Pegg.
Ian Scott Anderson is a Scottish-born musician, singer, songwriter and multi-instrumentalist best known for his work as the lead vocalist, flautist and acoustic guitarist of British rock band Jethro Tull. Anderson plays several other musical instruments, including keyboards, bass guitar, bouzouki, balalaika, saxophone, harmonica, and a variety of whistles. His solo work began with the 1983 album Walk into Light, and since then he has released another five works, including the sequel to the Jethro Tull album Thick as a Brick (1972) in 2012, entitled Thick as a Brick 2.
Under Wraps is the 15th studio album by the band Jethro Tull, released in 1984. The songs' subject matter is heavily influenced by bandleader Ian Anderson's love of espionage fiction. It was controversial among fans of the band due to its electronic/synthesizer-based sound, particularly the use of electronic drums. Dave Pegg has been quoted as saying that the tracks cut from the sessions for Broadsword and the Beast would have made a better album, while Martin Barre has referred to it as one of his personal favourite Tull albums. The album reached No. 76 on the Billboard 200 and No. 18 on the UK charts. The single "Lap of Luxury" reached No. 30.
Even though Doane Perry had been a member of Jethro Tull since 1984, several tracks still featured drum programming instead of a live drummer. Keyboardist Peter-John Vettese was also absent and it was Ian Anderson who contributed the synth programming. The album sleeve only lists Ian Anderson, Martin Barre and Dave Pegg as official band members. Barre remembers this production as being "the album where a lot of things were of my invention. There are still chunks of the music where lan very much knew what he wanted, but I think my input was far greater on that album than on any other".
Doane Ethredge Perry is an American musician, composer and author. Widely known for his work from 1984 to 2011 as drummer and percussionist with the band Jethro Tull, he has also appeared on hundreds of recordings spanning multiple genres on records, film and television.
Peter-John Vettese, also known as Peter Vettese, is a British keyboardist, songwriter, arranger and record producer.
Martin Lancelot Barre is an English rock musician best known for his work with progressive rock band Jethro Tull, with whom he recorded and toured from their second album in 1969 to the band's initial dissolution in 2012. In the early 1990s he went solo, and has recorded four studio albums and made several guest appearances.
The cover was designed by heraldic artist Andrew Stewart Jamieson. The single "Steel Monkey" has the cover designed by art director John Pasche.
John Pasche is a British art designer. He designed the Rolling Stones' logo.
This album was released simultaneously on LP and on CD, but the vinyl edition did not feature the songs "Dogs in the Midwinter" and "The Waking Edge". Both tracks appeared on vinyl as B-sides to the singles.
The album back cover shows in the credits that the album was: "Recorded just round the corner from the kitchen in the room behind the door which used to be painted white but isn't any more". And also: "Martin would like to thank Paul Hamer (Hamer Guitars). Ian and Dave would like to thank almost everybody else."
The album relied more heavily on Martin Barre's electric guitar than the band had since the 1970s. The style of Crest has been compared to that of Dire Straits, in part because Anderson no longer had the vocal range he once possessed (the result of recent throat surgery).
Dire Straits were a British rock band formed in London in 1977 by Mark Knopfler, David Knopfler, John Illsley, and Pick Withers. They were active from 1977 to 1988 and again from 1991 to 1995. The band became one of the world's best-selling music artists, with album sales of over 100 million.
Ian Anderson later stated about the musical style of the album: "'Steel Monkey' was based around a sequencer riff, and it didn't have any flute in it. So it was yet another atypical Jethro Tull song that was a radio hit. By comparison, both 'Farm On The Freeway' and 'Budapest' are very typical Tull songs. 'Budapest' is the kind of song I like to write because it embodies a lot of different nuances which I think are subtly joined together. It sort of moves from classical to slightly bluesy to folk, and it just slips between them and you don't see the stitching."
Crest of a Knave explores various themes in its lyrics, as Anderson often does. The song "She Said She Was a Dancer" shows that Tull's frank treatment of sexuality was unabated. The album contains the popular live song "Budapest", which depicts a backstage scene with a shy local female stagehand. "Farm on the Freeway" on other hand, profiles a farmer who has lost his land through eminent domain, and who now possesses only his truck. "Mountain Men" became more famous in Europe, depicting a scene from World War II in Africa and the Falklands War. Ian Anderson referred to the battles of El Alamein (WW II) and also South America (1982), drawing historic parallels of the angst that women left behind by their warrior husbands might have felt.
|Sea of Tranquility|
Sounds' review was mixed. It recognized the quality and even called the opening tracks "Steel Monkey" and "Farm on the Freeway" "stunners". The overall evaluation was that: "In a shrewd move, Ian Anderson has studied the current heavy metal renewal and adapted it to suit his own ends, and the results are impressive to say the least". Although in the end, comparing the album with the style of Mark Knopfler, the review would go on to say that: "But in his efforts to stay 'hip', the hairy progressive rock guru has fallen prey not just to the influence of modern pop's more inspiring aspects but also to its foulest evils: the rank odour of Mark Knopfler pervades the remainder of 'Crest...' […] Shamefully and cruelly, the album is snuffed out. It's a pity, in all seriousness".
Although contemporarily well accepted, AllMusic's later review was a little more committed, calling the album their best since Heavy Horses , but also stating: "Truth is, it isn't a bad album, with an opening track that qualifies as hard rock and pretty much shouts its credentials out in Martin Barre's screaming lead guitar line, present throughout. "Jump Start" and "Raising Steam" also rock hard, and no one can complain of too much on this record being soft, apart from the acoustic "The Waking Edge," along with "Budapest" and "Said She Was a Dancer," Anderson's two ageing rock-star's-eye-view accounts of meeting women from around the world. The antiwar song "Mountain Men" is classic Tull-styled electric folk, all screaming electric guitars at a pretty high volume by its end".
The album was a critical and commercial success. It received gold sales certification in the United States, where it peaked at number 32. In the UK it also attained a Gold, reaching number 19. Successes in other countries included Gold in Canada, number 10 in Germany and number 7 in Switzerland.
Crest of a Knave went on to win the 1989 Grammy Award for Best Hard Rock/Metal Performance Vocal or Instrumental, beating the heavily favoured ...And Justice for All (Metallica) and critics' choice Nothing's Shocking (Jane's Addiction).
The Grammy award was highly controversial as many did not consider the album or the band to be hard rock, and certainly not heavy metal. Under advisement from their manager, no one from the band turned up to the award ceremony, as they were told that they had no chance of winning. In response to the controversy, the band's record label Chrysalis took out an advert in a British music periodical with the line, "The flute is a heavy, metal instrument!".The Grammy award was split into two categories and renamed after the event.
In 2007, the win was named one of the 10 biggest upsets in Grammy history by Entertainment Weekly .
Rolling Stone listed the Grammy Award as the 18th Most Awesomely Retro Moments in Grammy History.
All tracks written by Ian Anderson.
|2.||"Farm on the Freeway"||6:31|
|4.||"Said She Was a Dancer"||3:43|
|2.||"Farm on the Freeway"||6:31|
|4.||"Said She Was a Dancer"||3:43|
|5.||"Dogs in the Midwinter"||4:37|
|8.||"The Waking Edge"||4:49|
|2005 remaster bonus track|
|10.||"Part of the Machine"||6:54|
Heavy Horses is the eleventh studio album by British progressive rock band Jethro Tull, released on 10 April 1978. It is considered the second album in a trilogy of folk-rock albums by Jethro Tull, although folk music's influence is evident on a great number of Jethro Tull releases. The album abandons much of the folk lyrical content typical of the previous studio album, Songs from the Wood (1977), in exchange for a more realist perspective on the changing world - the album is dedicated to the "indigenous working ponies and horses of Great Britain". Likewise, the band sound is harder and tighter. The third album in the folk-rock trilogy is Stormwatch (1979). An expanded, five-disk version was released on 2 March 2018.
J-Tull Dot Com (1999) is the 20th studio album by the British band Jethro Tull. It was released four years after their 1995 album Roots to Branches and continues in the same vein, marrying hard-rock with Eastern music influences. It is the first album to feature both Andrew Giddings on keyboards and Jonathan Noyce on bass, who would remain with the band until 2007, resulting in Jethro Tull's longest ever unchanged line-up. As of 2018, it is the last Jethro Tull album to feature all original, new material.
Roots to Branches is the 19th studio album by the British band Jethro Tull released in September 1995. It carries characteristics of Tull's classic 1970s progressive rock and folk rock roots alongside jazz and Arabic and Indian influences. All songs were written by Ian Anderson and recorded at his home studio. This is the last Tull album to feature Dave Pegg on the bass, and the first to feature keyboardist Andrew Giddings as an official band member, although he had contributed to Catfish Rising (1991) on a sessional basis. It was also the final Tull album to be released through long-time label Chrysalis Records.
Minstrel in the Gallery is the eighth studio album by British band Jethro Tull, recorded in April and released in September 1975. The album goes in a different direction from their previous work War Child (1974), with the orchestration being replaced by a string quartet conducted by David Palmer. The band also returned to the blend of electric and acoustic pieces, in a manner closer to their early '70s albums such as Benefit (1970), Aqualung (1971) and Thick as a Brick (1972), and for the first time since their two concept albums of Thick as a Brick (1972) and A Passion Play (1973), they recorded a song of more than ten minutes, which occupies almost all of the second side of the record.
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.
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 a permanent member of the group – and the last to include bass guitarist Glenn Cornick. It was recorded at the same studio of the previous album, but the band experimented with more advanced recording techniques.
Songs from the Wood is the tenth studio album by British progressive rock band Jethro Tull, released February 1977. The album signalled a new direction for the band, who turned to celebrating British pagan folklore and the countryside life in a wide-ranging folk rock style which combined traditional instruments and melodies with hard rock drums and electric guitars.
The Grammy Award for Best Hard Rock/Metal Performance Vocal or Instrumental was an award presented at the 31st Grammy Awards in 1989 to honor quality hard rock/metal works. The Grammy Awards, an annual ceremony that was established in 1958 and originally called the Gramophone Awards, are presented by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position."
Bursting Out is a 1978 live album by the rock band Jethro Tull. It was recorded at various locations during the European Heavy Horses tour in May and June 1978. Though the specific recording dates and locations are not credited, the liner notes and stage introduction indicate that at least some tracks were recorded at the Bern Festhalle in Switzerland, on 28 May 1978.
The Broadsword and the Beast is the 14th studio album by rock band Jethro Tull, released on 10 April 1982. The album is 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, provided by new keyboardist Peter-John Vettese. The electronic aspects of this album would be explored further by the band on their next release Under Wraps.
Rock Island is the 17th studio album by the British rock group Jethro Tull, released in 1989. The album continued the hard rock direction the band took on the previous effort, Crest of a Knave (1987). The line-up now included Ian Anderson, Martin Barre, Dave Pegg and drummer Doane Perry in his first full recording with the band, although he was already a member of Jethro Tull since 1984. Without a permanent keyboard player, the role was shared by Fairport Convention's Maartin Allcock and former Tull member Peter Vettese.
Catfish Rising is the 18th studio album by the British rock group Jethro Tull, released in 1991. It is the first Tull album to feature keyboardist Andrew Giddings. The album forgoes the synthesizers and electronic instruments that were prominent in Tull's 80's albums, instead opting for a hard rock and blues sound.
Nightcap: The Unreleased Masters 1973–1991 (1993) is a double compilation album by Jethro Tull released on 22 November 1993. It contains much of the band's previously unreleased material.
"Locomotive Breath" is a song by the British progressive rock band Jethro Tull from their 1971 album, Aqualung.
"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.
"Hymn 43" is a song by British progressive rock group Jethro Tull. It is off their Aqualung album and was released as a single by Reprise Records.