11. Jethro Tull: Songs From The Wood (1977): The Revenge Of The Mad Flutist

"Songs From The Wood" was the first Jethro Tull album I ever heard, back in 1982 when I borrowed it (and "A") from a classmate at school. Thus, I have been hooked by the Mad Flutist Ian Anderson and his troops för 37 years now - and counting.

What was it that made this album so great? Well, firstly, the songs - inventive, melodic, driving, with lyrics full of everything from environmental awareness through myth to wistful romance and even sexual innuendo. Secondly, the way they were played - from a capella folk to classic hard rock and back, sometimes within the same song; if nothing else, the arrangements were unique. And thirdly, the way they were sung. I really like Ian Anderson's voice, just as much as his songwriting and head for arrangements. I did like "A" as well, but that's another of a line of stories I'll be coming back to.

This is one of the precious few records I have heard that are classics almost song by song. I won't boe you with all of them, but rather just state that the A-side of the album is great - from the hymn-like title track and the mischievous "Jack-In-The-Green" to the rather rollicking "Hunting Girl" - but the B-side is even better, containing no less than three timeless Tull classics.

First, "Velvet Green" is a blend of a hauntingly beautiful melody, a story of a secret romantic alliance - interspersed with a rather frantic instrumental section pulling out all the stops, then coming round full circle. "Pibroch (Cap In Hand)" is similarly built but even more intricate - the verses are pure blues, Martin Barre's guitar expressing the anguish - and once again, the mad flutist and his mery men butt in with another frantically folksy part, stanging out in even stronger contrast but somehow not breaking the air of sorrow - the narrator, seeing the strange boots in the hallway and the slippers by the fire, putting his cap back on and walking away.

And then comes the finale, "Fire At Midnight", a sweet little tale of coming home after the working day, a lovely tune carried by an exquisitely down-toned arrangement literally lovingly played. A modern classic of less than three minutes, in my books.

Whence the revenge? Well, after a first brace of well-received classics such as "Aqualung", "Benefit" and "Thick As A Brick" by 1972, Ian Anderson seemingly lost his way among ill-conceived thematic works, abandoned album sessions and brawling with critics, and some of JT's mid-seventies work perhaps wasn't really good - but this record reinvented the band and put them back on top, where they belonged.

10. Billy Bremner: Bash! (1984): The Man With The Voice - The Third Rock In The Pile

Rockpile never got round to make more than one album under the band name, but I reckon I have more than albums of good music in my collection, made by one or more members of the group. Nick Lowe heads the pack in numbers, Dave Edmunds takes second place, but this Billy Bremner album (one of two I own) just may be the best of them all. His later catalogue, much of it recorded in Sweden with Swedish musicians, may sound a bit tired to my ears - but not so this gem.

I like the sheer power and rolling ease of the band, the production that sounds natural for 1984 - a little Rockpile, perhaps a touch of Squeeze, and I like the songs. Some of them may be rather average, but most have a clear hit potential. Most of all I like his voice - its warm yet powerful, at best it kind of soars above the music like a bird, without losing any of its grit and earthiness. Ah, I can't find the right words for what makes it so good - you have to dig out the album and listen for yourselves.

Among the musical highlights I especially want to mention the Elvis Costello-penned matrimonial drama "Shatterproof", the amusing Drifters-wordplay pastiche "Tired And Emotional (And Probably Drunk)", the nostalgically wistful "The Boat That's Sunk A Thousand Ships" and "Losing My Touch" - especially the latter one is a great showcase for that voice. And it has to be said, that most of the songs sound like they were written just for him - those long vowels that he can wrap himself around to great effect - but on the other hand, the style and soundscape are varied enough to make this a perfect pop record anyway, covering a lot of styles but tying them together in one entity.

Thirtyfive years later, the man is still active - in fact, he played in two of my hometowns just a month ago, but I was of course abroad just then - but nothing he has done since this album measures up to what he came up with here and as a member of Rockpile. To add insult to injury, my own copy, bought straight upon its release, is the only actual copy of this album I have ever seen. I know that it's been re-released on CD, and you can find it on Spotify - and I would love to see more people boast and brag about having it. So if you find a copy somewhere, buy it at once!