Jethro Tull's 'The Zealot Gene' - Album Review

Following Jethro Tull's split in 2011/2012, I cannot say that I was expecting to hear another album from the legendary band. Their charismatic leader, songwriter, and singer Ian Anderson essentially put the band to rest after concluding their 2011 live commitments, ending a journey that he started back in 1967. Lots of people had come and gone from Jethro Tull over the years, but Anderson was the constant force - and it was his magic that kept the band ticking, despite the excellent contributions of many other musicians throughout the band's 40-plus year career. I remember reading lots of interviews with Anderson in the years following Jethro Tull's split where he essentially said that he was sick of the Jethro Tull name, and wanted to tour and record under his own name. In truth, and despite the continued presence of guitarist Martin Barre who had been in the band since 1968, Jethro Tull had long ceased being a true 'band'. It had become Anderson backed by Barre and others, with the various great Jethro Tull line-ups of the 1970s and 1980s long gone - replaced with those who were happy to essentially be Anderson's backing band. This is not necessarily a bad thing, as Anderson is and has always been Jethro Tull, but I think that it is fair to say that the later line-ups of the band lacked the character and eccentricities of many of the earlier ones. The transition from Jethro Tull to Anderson's solo project was a relatively straight forward one, then, with bassist David Goodier and keyboard player John O'Hara sticking with him - while guitarist Florian Opahle and drummer Scott Hammond joined the ranks. This line-up toured with Anderson until 2019, and played on his two recent solo albums: 2012's Thick as a Brick 2 and 2014's Homo Erraticus. At some point, however, Anderson and his band started to morph back into Jethro Tull. This was done gradually, and without much fanfare - and in truth it has been confusing over the past few years whether Anderson was himself or Jethro Tull once again. Even when he was clearly operating as a solo artist, the Jethro Tull name was always ever-present in any branding. Ultimately, however, I would imagine that Anderson's re-embrace of Jethro Tull was purely a commercial one. Jethro Tull shifts more albums and tickets than Anderson on his own - even if the band and the setlists are identical. This might be cynical, but it is true - and I can certainly understand why Anderson has called his band Jethro Tull once again, even without his long-standing right-hand man Barre. I was not really expecting a new album, however, so the recent announcement of The Zealot Gene was something of a surprise. I knew that Anderson was working on a solo album, and had been for a few years - but The Zealot Gene is that album. At some point it was rebranded as a Jethro Tull album, but in truth it sits more comfortably with Anderson's recent solo albums than it does with most Jethro Tull classics. This is partly down to its overall sound, but Anderson's songwriting style is unmistakable - and there is no doubt that there are enough Tullisms here to allow it entry into the band's hallowed canon.

The Zealot Gene is the band's first collection of all-original material since 1999's J-Tull Dot Com, and it is the first to feature all of the band's current line-up - Anderson aside of course. Opahle left Anderson's band in 2019, but is still the prominent guitarist throughout the album's 12 songs. His replacement, Joe Parrish-James, features on one song, however. The album kicks off with Mrs Tibbets, which for me is one of the strongest tracks here. It is absolutely packed with Tullisms, which makes it a great album-opener - and it pulls from many eras of the band. A trilling flute melody opens things up, before a groovy verse kicks in - backed by some great Goodier bass playing. The synths used throughout the verses are very reminiscent of the sound of 1982's The Broadsword and the Beast, while the hard-driving chorus reminds me a lot of 1975's Minstrel in the Gallery. For me, the standout musician is O'Hara. His mix of synths and Hammond organ brings the track to life, while Anderson's flute adds delicate dancing melodies that are very reminiscent of the band's classic albums. Not to be outdone, however, Opahle adds a ripping, blues-based guitar solo - which is full of fire, and again reminds me of the aforementioned 1975 release. Mrs Tibbets is very much a whole band effort, though, and it really showcases the modern Jethro Tull line-up in a great light - and should put to bed any fears about a Jethro Tull without Barre. Jacob's Tales is very stripped-back in comparison, and it is essentially an Anderson solo piece. He swaps his flute for a harmonica throughout, and strums along on his acoustic guitar while he delivers the warm vocal melodies. I have been critical of Anderson's live vocals on this blog, but throughout the album he sounds pretty strong. This material has been written for his aged voice but it works well - and there are enough witticisms in the lyrics and inflections in his voice to recall him in his heyday. Mine is the Mountain returns to the progressive side of Jethro Tull, and it is a dynamic piece that brings the best out of both Anderson and O'Hara. Anderson, in the album's booklet, calls the song a companion piece to My God - and I understand why. The structure is similar, with brooding atmospheric sections sitting side-by-side with busy instrumental moments that really burst out of the speakers - usually led by Anderson's flute or O'Hara's busy piano playing. There has often been a strong progressive bent to Anderson's songwriting, and Mine is the Mountain is the song here that showcases it the most. The album's title track follows, and it is a jaunty rocker with lots of folky melodies. The song reminds me of the rockier moments of 1977's Songs from the Wood, and it is one of my favourite cuts here thanks to its hooky chorus and emphasis on folky flute melodies. Opahle's guitar playing has just enough weight to give the song some bite, while Anderson's voice actually sounds very strong throughout. It is the sort of song that is made for playing live, and I can actually image the band's past line-ups past playing it alongside the classic material. It is a simple track, but it is packed full of melody - and it rocks in that jaunty way that only Jethro Tull can.

Shoshana Sleeping is similar. It again reminds me of the folk rock period of the band, but there is also something of a bluesy, atmospheric touch that reminds me of 1970's Benefit. The main flute hook is what really draws the listener in, but for me the vocal melodies are not as strong as those found throughout the previous song. That being said, however, the song is still memorable. The slight murkiness of the piece helps it to stand out - and it is a song that really allows Anderson to let rip on the flute. The aforementioned hook is a big part of what makes the song great, but he also allows himself a lengthy flute solo during the piece - which should remind us all that his instrumental talents have not waned one bit. Sad City Sisters is much more overtly folky. Anderson's acoustic guitar provides the main structure of the piece, while O'Hara steps away from his keyboards to add some accordion melodies - which is the other main musical focus here. Accordions are not my favourite instrument, but the inclusion of one works well here - as it helps the track to stand out and create something of a Parisian vibe which clashes nicely with Anderson's traditional folk. Anderson even swaps his flute for a whistle at times, with its soft sound adding a lilting quality to parts of the track - before the flute once again cuts through the mix. Barren Beth, Wild Desert John is a bit more muscular, and returns to the sound forged on the heavier sections of Mine is the Mountain. Like that song, too, the track is somewhat dynamic. While it is largely riff-based, there are moments that see the guitar drop out to leave Anderson singing gently against a warm keyboard backing. Triumphant flute melodies often rear their heads too, and they add to the overall hooky nature of the track. Both Anderson's vocal and flute melodies here are very memorable; but perhaps my favourite part of the song is Opahle's excellent guitar solo. It might be somewhat on the short side, but it really soars - and bursts perfectly from a lengthy flute melody, building on these notes with squealing, bluesy precision. The Betrayal of Joshua Kynde has a very old-school Jethro Tull vibe - and for me it sounds like a long-lost part of 1972's Thick as a Brick. The song is quite busy musically, which brings the best parts of that album to mind, while Anderson's vocal melodies are similarly playful. The interplay between his flute and O'Hara's piano is what makes the song stick for me, and the main melodies that see the two teaming up are some of the album's best musical moments. There is another great guitar solo from Opahle here too, which is somewhat longer than his efforts heard so far. It is still very blues-based, however, but it is busy to fit in with the constantly-evolving nature of the rest of the song. It is the sort of song that never sits still, and is frenetic in that manner that only Jethro Tull can really pull off - while still remaining memorable and hooky.

Where Did Saturday Go? is another acoustic-based piece, which largely returns to the stripped-back sound of Jacob's Tales. This song is a bit more arranged than the earlier song, however, with the rest of the band adding some depth when needed. Goodier's bass adds counter-melodies to Anderson's simple acoustic guitar lines, while subtle percussion occasionally cuts through the mix. Anderson also uses the song to showcase more of his flute playing. This time, however, his playing is much gentler. He is known for really attacking his flute and getting sharp sounds out of it, but his playing here is more traditional - with the gentle melodies adding to the warm backing nicely. Three Loves, Three is similar, but certainly much jauntier than Where Did Saturday Go? - which was generally more melancholy. Three Loves, Three is pretty upbeat, however, with lots of busy guitar strumming, percussion, and hooky flute melodies. The song reminds me somewhat of Jack-in-the-Green, although not quite as in-your-face. It has a similar pace and vibe throughout, however, and it is a song that really focuses on Anderson rather than the band as a whole. Jethro Tull albums have always includes songs of this nature though, and it is fitting that the band's first 'proper' album in 23 years follow suit. In Brief Visitation is also very similar, and feels like a continuation of Three Loves, Three - so much so that they essentially feel like one long song. It is the only song here to feature Parrish-James, but his contributions are minimal. He adds some subtle leads to back Anderson's flute lines, but on the whole the piece is led by Anderson's acoustic guitar. It is shame that Parrish-James did not get much of an opportunity to showcase what he can do on this album, but it is my understanding that much of it was recorded a few years ago - with Opahle's contributions well and truly entrenched despite his departure. The album comes to a close with The Fisherman of Ephesus which injects some rockier vibes after three acoustic-led tracks. It is not as heavy as some of the songs here, but like Mrs Tibbets it feels like more of a band piece - which is fitting for a closer. Flute melodies dominate, but once again the song is also a showcase for O'Hara - who's melodic keyboard work dominates the verses. Occasional bursts of organ add depth too, but much of the melody here comes from the flute - with Anderson allowing himself one final chance to showcase his skills. It is another pretty hooky song too, with a chorus that sticks in the brain despite it slowing things down somewhat. Perhaps fittingly, though, the song ends with a short flute-led instrumental section - which builds towards a crescendo that leaves the flute as the last thing that is heard. It is a song that has something of a heroic feel to it, which in many ways echoes throughout the album. I was dubious about The Zealot Gene being a new Jethro Tull album rather than being the solo album it was supposed to be - and I was worried it would not live up to the band's generally high standard, especially given Anderson's vocal limitations. I was impressed with the album from the off, however, and it continues to grow on me. There is a lot to love here, and it sounds like the Jethro Tull of old at times too - which shows that Anderson is still a songwriting force to be reckoned with.

The album was released on 28th January 2022 via InsideOut Music. Below is the band's promotional video for The Zealot Gene.