Whatever the opinion of Jethro Tull, Under Wraps, Ian Anderson, Prog Rock etc, this is how to do definitive editions.
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The latest in the ongoing series of what is frankly, a top notch reissue programme, Jethro Tull’s Under Wraps: The Unwrapped Edition, brings together two ambitious and caution to the wind albums – Tull’s 1984’s Under Wraps which is partnered by the ‘of the era and context placing’ Ian Anderson debut solo album Walk Into The Light released in 1983.
These two albums hold significant importance in the band’s vast body of work, marking a notable shift from the signature Jethro Tull sound. Plugging into the zeitgeist if you will. The songwriting saw Anderson embrace what was at the time, cutting edge technology, integrating synthesizers and drum machines, much the result of combining with finger-on-the-pulse keyboard player Peter John Vetesse. Off the back of 1982’s excellent The Broadsword And The Beast, Under Wraps proved a considerable move away from the folk roots and hard rock core, yet illustrated their ability to adapt to the evolving musical landscape.
DRUMS OR ‘DRUMS’?
This comprehensive 5CD & Blu-Ray set has been overseen by Ian Anderson and includes both original albums extensively remixed twice by Bruce Soord. So – we get the’original drum’ and the ‘2026 drum’ remixed versions of each album. And therein lies the fascination and focus. How would Under Wraps sound with a little less synthetic wash tha dates, some might say scars, the material quite deeply.
Back to ’84, though the voice and the flute make the songs inevitably sound like Tull and while there may be synths aplenty that are as Ultravox-y as they come. Screaming “eighties!” the occasional washes provide a similar texture to those on Broadsword so you might say the signs were already there; seeds planted. European Legacy has acoustic flourishes that bring a brief recovery yet the likes of Automotive Engineering hauls the balance back to bad Eighties film soundtracks. Eddie Murphy badmouthing around LA in search of mullet shorn, shoulder padded villains. Links to the legacy come via the acoustic reworking of the title track that provided a mere modicum of familiarity in the running time.
IT’S DRUMS!
Some may say that the immersion into synthetic technology goes too far despite kinda matching the icy and stark subject matter, yet the main offenders are the drums and lack of human presence in said department. It’s still quite a testing listen. However, Bruce Soord to the rescue , commenting in the accompanying essay (just one part of another detailed exploration of the album and the ear) needs to be read for context, it being a fair neutrals’ perspective. “I think the drum program is really good,” he admits and is no less effusive in his admiration for the recording quality not to mention the playing.
The big bonus is his work on using fresh drum samples to enhance the organic feeling that here’s actually a human involved. “Sonically richer and deeper,” he adds. And he does a sterling job, not only on making Under Wraps the sort of pleasurable listen it should be but also in the enhanced 5.1 and Atmos mixes. The clarity archived – as he says, there is so much detail to work with – even on a rudimentary surround system, is a revelation.
ON THE SAME PAGE
The obvious not so distant cousin of Walk Into Light feels like Under Wraps with ribbons and bows. As a solo venture, it might have scratched an itch – Anderson would return in solo guise armed with acoustic guitar and flute and hooks and melodies aplenty in due course. While not necessarily ‘Tull’ – Anderson is essentially ‘Tull’ so Walk Into Light adds context and fills in the gap in the timeline.
A set that combines what at the time would have been noted as – yes – sophisticated, cutting-edge electro-pop songs with typically pointed and uncompromising sociological lyrical observations. A brave reinvention of an established identity maybe but isn’t that what the solo outlet should provide, although the subject matter of modern life, technology, and isolation isn’t too far removed from Under Wraps.
AND THERE’S MORE…
These discs also include associated recordings from that period. The fifth CD is a live recording from a BBC Radio 1 concert at The Hammersmith Odeon in 1984 which to be fair, has been available in a fuller FM Broadcast semi-official versions for some time. Only two songs from the album are represented on the live set – strange for a tour promoting said album. No doubt, the punters buying this set will have the Zip City 2CD and a huge 5 song selection from Under Wraps plus a couple of tracks from the Anderson album squeezed into Tull colours.
Bonus tracks – for there were many – might not be of the same quality as the Broadsword outtakes, and maybe left on the shelf, or saved for the 12″ single of double 7″ of Lap Of Luxury, for that same reason. The Blu-Ray contains stereo and 5.1/Atmos mixes, along with promo videos from the era plus the obligatory and most informative 100-page book offering an extensive article on the making of the records. One where the positives are generally accentuated although the feeling that Anderson might not convinced does lie between the lines. Dave Pegg – a bit more honestly and open – clearly was never so sure.
AN EXPERIMENT…
As Anderson has stated: “It was about exploring the technology of the time and seeing how far we could push our sound into new territories. It was an experiment, and not everyone was ready for that kind of change from Jethro Tull.” An experiment which in the longer term, despite often cited as a favourite of Martin Barre and defended to the hilt by the Tull team, had no legs. Next stop three years on – the Grammy Metal award winning Crest Of A Knave.
Here’s the acoustic Under Wraps (#2) (“less 80s damage.” as one wag put it):
Jethro Tull: Website