>He sees his children jumping off >At stations, one by

The train won't stop rolling cos someone stole the handle.

>>70733029
Oh Jesus save me!

>>70732909
SITTING ON A PARK BENCH

>>70733150
EIN LITTLE GIRLS WHIP BACK INTENTLY

>make an album-long song that parodies and trolls the fuck out of pretentious concept albums
>music critics praise it as a serious, high brow concept album
Ian Anderson was ahead of his time. How can one man be so based?

>>70733295
Idk, this gets into a big debate over how much the intent of the artist matters when evaluating the art and whether or not art can be treated as an independent entity with its own existence once the creator releases it.

>>70732909
>Cross Eyed Maaary
>can't pass no eye exam
>she eats a poor girl's sandwich
>with a single piece of ham

Such brilliant character studies

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This Was [Reprise, 1969]

Ringleader Ian Anderson has come up with a unique concept that combines the worst of Roland Kirk, Arthur Brown, and your nearest G.O. blues band. I find his success very depressing. C-

Stand Up [Reprise, 1969]

People who like the group think this is a great album. I don't like the group. I think it is an adequate album. B-

Benefit [Reprise, 1970]

Ian Anderson is one of those people who attracts admirers by means of a principled arrogance that has no relation to his actual talents or accomplishments. He does have one undeniable gift, though--he knows how to deploy riffs. Nearly every track on this album is constructed around a good one, sometimes two; play it twice and you'll have the thing memorized. But I defy you to recall any lyrics. For all his e-nun-ci-a-tion and attention to wordcraft, Anderson can't or won't create the impression that he really cares about love/friendship/privacy, which I take to be his chief theme--the verbiage isn't obscure, but he really does make it hard to concentrate. I'm sure I hear one satirical exegesis on the generation gap, though. B-

Aqualung [Reprise, 1971]

Ian Anderson is like the town free thinker. As long as you're stuck in the same town yourself, his inchoate cultural interests and skeptical views on religion and human behavior are refreshing, but meet up with him in the city and he can turn out to be a real bore. Of course, he can also turn out to be Bob Dylan--it all depends on whether he rejected provincial values out of a thirst for more or out of a reflexive (maybe even somatic) negativism. And on whether he was pretentious only because he didn't know any better. C+

Thick as a Brick [Reprise, 1972]

Ian Anderson is the type of guy who'll tell you on one album that a whole side is one theme and then tell you on the next that the whole album is one song. The usual shit--rock (getting heavier), folk (getting feyer), classical (getting schlockier), flute (getting better because it has no choice), words. C-

Everything Rocks and Nothing Ever Dies [1990s]

Robert Christgau is one of those people who attracts admirers by means of a principled arrogance that has no relation to his actual talents or accomplishments. He does have one undeniable gift, though--he knows how to deploy insults. Nearly every album review on his website is constructed around a good one, sometimes two; read it twice and you'll have the thing memorized. But I defy you to recall anything about the albums. For all his e-nun-ci-a-tion and attention to wordcraft, Christgau can't or won't create the impression that he really cares about hating masculine music/worshiping the New York Dolls, which I take to be his chief theme--the verbiage isn't obscure, but he really does make it hard to concentrate. I'm sure I hear one satirical dig at prog rock, though.

>>70734443
Absolutely NO Christgau posting

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>>70734443
>>70734462
Christgau was just upset that Anderson was a 6-foot-2 alpha male and he was a 5-foot-8 numale cuck

He wrote a column about a Jethro Tull concert he attended and how it was very depressing to hear a guy bitch for three hours about society and organized religion and he'd rather see the Rolling Stones who at least know how to have fun.