01	North Sea Oil						03:11
	02	Orion						03:58
	03	Home						02:45
	04	Dark Ages						09:13
	05	Warm Sporran						03:34
	06	Something's On The Move						04:27
	07	Old Ghosts						04:23
	08	Dun Ringill						02:41
	09	Flying Dutchman						07:45
	10	Elegy						03:34

send by ABBA 9 dec 2002

~ Stormwatch ~

An introduction to "Stormwatch"

In 1978 Ian started writing songs for a new album that can be considered as the third one in a trilogy about the relation human and nature. This environmental theme, portraying a way of life that Ian sees as full of meaning with a sense of community and respect for nature, was very prominent on "Songs From The Wood" and explored further on "Heavy Horses".

In a BBC-documentary, the band band can be seen rehearsing and performing "Dark Ages", a song from "Stormwatch" which was released in 1979. Ian explains how the song is about his idea that humanity was in the late 1970's entering something akin to the Dark Ages of several hundred years ago. This is mainly the result of destruction of the environment. So the album title comes from Ian's idea that he is watching a storm coming, that will put mankind into a kind of winter in which the environment will be destroyed. One could say that both lyrics and album cover contain a warning for what is going to happen to the world if modern society doesn't change it's manic strive for economic growth at the expense of nature and environment.

The album cover shows Anderson bundled up in coat and mittens holding a set of binoculars. In the lenses of the binoculars are images of oil rigs and lightning bolts. The green and brown imagery of the previous two album covers has been replaced by blue, gray and black. The band logo takes the form of a digital readout like that of an alarm clock. The album presents itself in a very contemporary vein. Nonetheless it is easy to see it as the last in a trilogy. It doesn't look to nature or the past for a better way of life but instead calls for action in the present to save nature lest humanity suffer a terrible fate. This is illustrated on the back of the album cover. It portrays a coastal area with oil refineries on land and oil rigs off in the sea. The whole area is covered with massive amounts of snow while a gigantic polar bear rampages along the coast. In the clear sky are several birds, the constellation of Orion (the name of one of the songs) and an angel, presumably representing Gabriel who has come to blow his horn signalling the Apocalypse. (Unfortunately, the angel's face is obscured by a bar code.)



Annotations

North Sea Oil

The album begins with "North Sea Oil", which describes the greed which fuels the petroleum industry: "Riggers rig and diggers dig their shallow grave, but we'll be saved and what we crave is North Sea Oil" and the dangers of pollution for the environment. However most North Sea oil is transported by pipeline, with few pollution incidents. The only significant spill in the last 30 years of petroleum extraction occurred over 10 years after the song was written. In terms of affecting the Scottish environment, it's mainly been in industrialising rural areas. The Shetland Isles are almost unspoilt, apart from the massive oil refinery at Sullem Voe. Oil rigs were constructed in the Scottish lochs and bays for years, ruining the views. The deep waters around Skye were used this way (see 'Broadford Bazaar'), which might have been Ian's inspiration. A significant point in understanding the song is the way the British government has made use of the oilfield resource. They could have promoted slower, steady extraction, covering Britain's energy costs and trade balance for decades, maybe longer. Instead, they went for all-out, intense development with immediate profits - which won't last. I suspect Ian disapproves. I have no political bias in saying that; governments of all parties have behaved the same way.
It might be worth explaining the spoken lines in 'North Sea Oil. As the album credits say, Francis Wilson was (is?) a TV weather presenter. In addition to speaking the intro to 'Dun Ringill', he gives a weather forecast between verses in 'North Sea Oil':
"Viking, Forties, Fisher: north-west, backing west, four to five. Dogger, German Bight: north-west, five or six, occasionally gale eight".
The slightly odd names aren't just random words. The seas around Britain are split into about thirty named 'sea areas', to facilitate navigation and, indeed, weather forecasting, as this map of the UK Shipping Forecast Areas shows:


A gale off the Skye coast, therefore, would be announced as occuring in sea area 'Hebrides', and ships would know to take extra care. In the 'North Sea Oil' example, Viking, Forties & Fisher are the offshore areas in the middle of the North Sea, in a triangle drawn between the Scotland-England border, Bergen in Norway, and Esbjerg in Denmark. Dogger and German Bight account for the southern North Sea, south from Dogger and Fisher to a line drawn roughly Norwich-Amsterdam.
The numbers in the forecast are wind strengths, according to the Beaufort Scale (1 is a barely noticeable breeze, 12 is a hurricane). So German Bight can expect a moderately strong wind blowing from the north-west, which will occasionally reach the more severe gale eight. So this weather forecast covers wind across the whole North Sea, excepting the Norwegian coast and that of mainland Britain. A full forecast would also mention precipitation (rain or snow), plus visibility. A perhaps trivial detail is that this format of forecast is used by the BBC (radio) shipping forecast, not TV forecasts and certainly not by Thames TV, the company then employing Francis Wilson. It's quite likely that Wilson never read a shipping forecast for 'real'!
* Neil R. Thomason



Orion

In this song Ian seems to plea for help from the heavens: "Orion, light your lights: come guard the open spaces from the black horizon to the pillow where I lie." This reminds of the appeal in "Weathercock" from the Heavy Horses album: "Good morning weathercock: make this day bright. Put us in touch with your fair winds. (...) Point the way to better days we can share with you". Even though the album is, as Anderson himself described it, "more socially orientated", nature is still used to great effect.


Home

"Home" follows in the tradition of "Fires at Midnight" and "Journeyman. In it Anderson extolls the virtues and stability of homelife: "And 'though I've been away, left you alone this way, why don't you come awake, and let your first smile take me home".


Dark Ages

The centerpiece of the album, "Dark Ages", follows. The song laments not only the coming of a metaphorical winter for humanity but also the fact that people seem to be apathetic to their fates:
"Come and see bureaucracy
make its final heave,
and let the new disorder through
while senses take their leave....
Take their pick
and try the trick
with loaves and fishes shared,
and the vicar shouts
as the lights go out
and no-one really cares".
The term "Dark Ages" refers to the Middle Ages in England, esp. the era of the Anglo-French war (1350 - 1450), that almost r"ined both countries. This was a century of cultural and intellectual darkness. French historians use a similar term for this era.
* Jan Voorbij
I just wanted to inform you that in a bootleg entitled "Songs from the Wooden Gramophone" and dating from the "Songs from the Wood" Tour, I have two versions of the song "Dark Ages", where Ian sings a stanza which is not on the studio recording. As I am not English but French, there are some words for which I am not sure, but it goes something like that (that stanza in the beginning, following the one with the television that dies and no-one stops to cry) :
"And the gloom in the valley
Grows brighter as the town
Lends us light most royally
And the houses all burn down."
In the studio audio clip from the BBC Arena documentary, the line is "lends us light most royally" -- but in the live version which ends the documentary, it's "lends her light most royally".
* Fred (from France); Andy Jackson


Warm Sporran

The first half of the album ends with an instrumental piece. It would seem that Anderson is seeking shelter from the storm about to begin.
A sporran is a Scottish sort of purse, worn on a belt around the waist (when wearing kilt etc.), hanging at roughly crotch level. Those of a lewd turn of mind may make the obvious extrapolation. ;)
* Leigh Ann Hussey


Something Is On The Move

The second half begins with "Something's On the Move". Here the warnings have been ignored and the metaphorical winter descends upon the world:
"Driving all before her
un-stoppable, un-straining
her cold creaking mass
follows reindeer down".


Old Ghosts

As the storm unfolds, Anderson still seeks to counter it in "Old Ghosts":
"I'll be coming again like an old dog in pain
Blown through the eye of the hurricane
Down to the stones where the old ghosts play".


Dun Ringill

Once again Anderson refers to ancient tradition as a source of inspiration and comfort for modern man. In the song, he perhaps describes a ritual taking place:
"We'll wait in stone circles
'til the force comes through
lines join in faint discord
and the stormwatch brews
a concert of Kings
as the white sea snaps
at the heels of a soft prayer
whispered."
Could it be that this stormwatch-character refers to a kind of druid, that averts here the approaching dangers? Is Anderson saying that he and a small group of others will take refuge from the oncoming "winter" by taking refuge in more "earth-friendly" ways of living and "ride the storm out" as it were?
* "Songs from the wood", John Benninghouse; adaptation Jan Voorbij


The remnants of the broch at Dun Ringill.

There is a place called Dunringill. It lies on the shores of Loch Slapin, Isle of Skye, which form part of the Strathaird estate once owned by Ian Anderson - now owned by the John Muir Trust which is a conservation body. The ruins of Castle Ringill, 900 years ago the seat of the Clan Fingon, are just a few hundred yards away from the house Anderson once lived in. An attractive and secluded spot.
* Graeme Robertson, Habitat Scotland, Hazelmount, Heron Place, Portree, Isle of Skye, IV51 9EU, Scotland UK,


(* Maps: http://uk.multimap.com/)

"We'll wait in stone circles" . Two examples of stone circles, built in the neolithic era. Both are situated on the Isle of Lewis, Outer Hebrides near Stornoway. There a many of these stone circles on the British and Irish isles. Scientists have developed several theories about these monuments considering them as places for worship and ceremony, burial and devotion, calendars etc.These photographs were made by c Diego Meozzi ( dmeozzi@micronet.it ).
* Jan Voorbij



Flying Dutchman

The last song with lyrics is "Flying Dutchman". The title refers to a legendary Dutch ship whose captain is doomed to sail the seas until the Day of Judgment. For those who don't follow Anderson's course of action, an unhappy life awaits:
"So come all you lovers of the good life
on your supermarket run....
look around you, can you see?
Staring ghostly in the mirror--
it's the Dutchman you will be
...floating slowly out to sea
in a misty misery".


Elegy

The album ends with a David Palmer instrumental, "Elegy". Here ends our trilogy. The appropriation of images from folklore and nature, which were present before, come to a climax here. The conflict between urban and rural, past and present is made clear. And Ian Anderson predicts dire consequences if our present course of greed and environmental destruction is continued.
Some comments on 'Elegy' - the song, written by David Palmer, is actually about the death of his father. It even has lyrics, which Palmer himself sung on an album he recorded sometime back in the earlier 90's. These notes were taken from a "A New Day" from some time back. But I feel that most fans, including myself, have associated this song with the passing of John. Also, John Glascock fell very ill during the recording of Stormwatch but he did not die until three weeks after the albums release, which is why no mention of his death makes it to the cover.
* Matt Willis
According to David Rees 'Elegy' was the only surviving piece of music from ''The Waters Edge', originally titled "The Siren Song". The Scottish Ballet, directed by Ian's brother Robin Anderson, had asked Ian to write an orchestral, classical piece of ballet music and he turned to David Palmer for assistance. Martin Barre also collaborated, albeit to a much lesser extent. The piece dealt with the myths and legends of the ancient kingdom of Scotland. ''The Waters Edge' was performed in Glasgow and Edinburg and unfortunately was never properly recorded. There is an audience recording available in MP3 format at: http://jethrotullmp3.com .

Elegy was recently performed by David Palmer at the Itullian Convention, June 30 2001. The lyrics cannot always be clearly heard but this is what they are as far as I can make them out (thank you Elwyn):
"As the dealer laid his final card aginst my upturned four
The nightmare game burst into flames And I ran towards the door
I climbed the ten tread staircase and started to descend
but for me there was no exit its beginning was its end
And a group of grasping lawyers passed as I paused to catch my breath
Life is trecherously deprived but you can rely on death
And then a choir of contra tenors sang the credo from a mass
As I gazed upon this motley scene ...through a piece of darkened glass
I saw the hunter and the hunted The coarses and the Hare
So I pranced and danced with muddied feet To a hunting fluted aire The clan and one lone Ricky built a mansion in this bar
but blood ran from the mortar said the black bowler from afar
some lawyers and a statesman drove past in stately cars
but a black crow rode his mascot as they headed for the dance
as a choir of tenors joined the dancers on the grass
I saw it all before my eyes through that piece of darkened glass
Then a bass man with a broken string took his life into his hands
I watched him walk right through the wall as he crumbled into sand Though I tried to stop this madness the dealer let him past.
All I could do was stand and stare yeah through that piece of darkened glass
And I'll never know the reason of the meaning of this play
but men and bits of paper just like dust have blown away
They can cling to their sad story of what wealth and power gave
when they find the path of glory beneath that true (...?)
* Jan Voorbij


c Jan Voorbij / 1998-2002



Stormwatch
Date of Release Sep 1979

Stormwatch marked the end of an era in Jethro Tull's history, as the last album on which longtime members Barriemore Barlow, John Evan, and David Palmer participated, and the final appearance of bassist John Glascock, who played on three of the cuts (Anderson supplied the bass elsewhere) and died following open-heart surgery a few weeks after its release. Anderson's inspiration seemed to be running out here, his writing covering environmental concerns ("North Sea Oil") and very scattershot social topical criticism ("Dark Ages"). The fire is still there in some of the hard rock passages, especially on "Dark Ages," but most of the songs generally lack the craftsmanship and inspiration of such albums as Minstrel in the Gallery or Heavy Horses, much less Aqualung. Just when "Something's on the Move" seems like it could be the most tuneless track in Tull's history, "Old Ghosts" and "Dun Ringill" follow it with even less memorable melodic material. The latter, in particular, proved that Anderson's well of folk-inspired tunes was also running dry, apart from the instrumental "Warm Sporran." - Bruce Eder

1. North Sea Oil (Anderson) - 3:08
2. Orion (Anderson) - 3:55
3. Home (Anderson) - 2:44
4. Dark Ages (Anderson) - 9:07
5. Warm Sporran (Anderson) - 3:31
6. Something's on the Move (Anderson) - 4:24
7. Old Ghosts (Anderson) - 4:20
8. Dun Ringill (Anderson) - 2:37
9. Flying Dutchman (Anderson) - 7:42
10. Elegy (Palmer) - 3:30

Ian Anderson - Guitar (Acoustic), Flute, Guitar, Guitar (Bass), Vocals, Producer, Cover Art Concept
Martin Barre - Guitar, Mandolin, Guitar (Electric), Guitar (Classical)
Barriemore Barlow - Percussion, Drums
Robin Black - Producer, Engineer
John Evan - Organ, Piano, Keyboards
John Glascock - Bass, Guitar (Bass)
David Palmer - Synthesizer, Keyboards, Saxophone
Peter Wragg - Art Direction
Frank Wilson - Vocals
David Jackson - Artwork

CD Chrysalis F2-21238
1979 LP Chrysalis 1238
1990 CS Chrysalis 21238
1990 CD Chrysalis 21238
CS Chrysalis F4-21238
1996 CD Alliance 21238
1991 CS Alliance 21238