Minstrel In the Gallery
Chrysalis CHR 1082
Released: September 1975
Chart Peak: #7
Weeks Charted: 14
Certified Gold: 11/13/75
Chances are, most of you have long since forgotten the notion of Elizabethan boogie as an art form. Well, it's revived here on Minstrel in the Gallery, Jethro Tull's latest concept-as-afterthought entry in the fall record sweepstakes. The fact that Ian Anderson and the lads have once again plundered the British secular music tradition signifies little and delivers less.
Anderson, still holding to a self-consciously bizarre musical stance, has difficulty maintaining the center of attention with his mannered vocals, irrepressible flute and acoustic guitar. And although, accmpanied only by his guitar, he introduces each hauntingly familiar refrain as a ballad -- aided by intimate spoken intros and incidental studio background noises -- the tunes are soon deluged by a wash of lugubrious string passages and the anachronisms of Jeffrey Hammond-Hammond's mechanical bass lines and Martin Barre's hysterical electric guitar montages. In addition, contrary to the LP's basic concept, the lyrics are instantly forgettable.
- Jean-Charles Costa, Rolling Stone, 11/6/75.
One of the rare groups that holds its enthusiastic mass audience year after year turns in a solid new effort in its distinctive and familiar style. A highly energetic effort by writer/producer/leader Ian Anderson and company, more streamlined and less grandiose in concept then recent Tull releases. No shortage of hit singles possibilities on the set and that Tull sound is displayed without undue clutter. Not that the lyrics are any more basic than before, it's just that Anderson's twisty melodies and flute-guitar riffs are presented more directly. Best cuts: "Minstrel In The Gallery," "Black Satin Dancer," "Baker Street Muse," "Requiem."
- Billboard, 1975.
Minstrel in the Gallery was Tull's most successful exercise in synthesizing Elizabethan folk with prog-rock. * * *
- Rick Clark, The All-Music Guide to Rock, 1995.
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