Jethro Tull-A (1980)

Conceived by Ian Anderson as a concept album exploring the turbulence and tensions of modern society, with the intention of releasing it as a solo project, the mere fact that it ended up being released as a Jethro Tull album condemned the band's thirteenth album, titled "A," to be highly controversial among their most purist fans and many critics of the time. Much of this controversy stemmed from the heavy use of synthesizers, courtesy of Eddie Jobson, and the synthpop-like sounds so fashionable in the 1980s. For this new venture, Anderson dispensed with much of Jethro Tull's classic lineup. With the exception of guitarist Martin Barre, keyboardists John Evan and David Palmer, bassist John Glascock, and drummer Barriemore Barlow were absent, replaced by the aforementioned Jobson, percussionist Mark Craney, and bassist Dave Pegg. However, despite the tremendous backlash it received from some fans, "A" is crafted in an experimental style, incorporating voice synthesizers and an interesting mix of avant-garde electronica, rock, folk, and even Eastern influences, as evidenced in the track "Uniform". The album's strength is clearly demonstrated in tracks like the funk-tinged rock song "Crossfire", the progressive electronic track "Fylingdale Flyer", and the mini-epic "Black Sunday", undoubtedly the album's most accomplished and progressive composition. The remaining tracks are considerably weaker, adhering to the typical pop-rock formula, though still undeniably talented, such as the sarcastic "Batteries Not Included", and the infectious blues-rock "4.W.D. (Low Ratio)". In short, “A” is one of the best examples of the evolution of progressive music in the 1980s, which marked the failure of many of the great bands of the 1970s who were unable to adapt to the new sounds and musical tastes of a new, more technological era.