01	Song For Jeffrey						03:24
	02	Love Story						03:07
	03	Christmas Song						03:09
	04	Living In The Past						03:23
	05	Driving Song						02:43
	06	Sweet Dreem						04:06
	07	Singing All Day						03:07
	08	Witches Promise						03:49
	09	Inside						03:52
	10	Just Trying To Be						01:37
	11	By Kind Permission Of						10:10
	12	Dharma For One						09:58
	13	Wond'ring Again						04:15
	14	Locomotive Breath						04:28
	15	Life Is A Long Song						03:21
	16	Up The 'Pool						03:15
	17	Dr. Bogenbroom						03:01
	18	For Later						02:08
	19	Nursie						01:35

This is a reduced version compare to the LP.It misses few tracks, like Bouree, Teacher, Alive And Well And Living In, Hymn 43, but there are two tracks which are not on LP, like Inside and Locomotive Breath.

~ Living In The Past ~

An introduction to "Living In The Past"

After the huge success of the 'Aqualung' and the 'Thick As A Brick' albums and the world tours promoting these album there was a big demand for Jethro Tull-material. Chrysalis decided it was time for an extra release: a compilation double album containing songs from the previous years, packed in a beautiful cover with photographs and details on the included songs.

With this double album, smartly named 'Living In The Past' after their successful single, new fans now got access to older material, while the long time fans finally found the singles they bought assembled on one album. 'A Song For Jeffrey', 'Love Story', 'Living In The Past', 'Sweet Dream', 'Witches Promise' and 'Inside' - they all were released as a single, some of them becoming hits in Europe and the US. The album also contains five songs that were released in the EP format in 1971: 'Life Is A Long Song', 'Up The 'Pool', 'Dr. Bogenbroom', 'For Later' and 'Nursie', while three songs were released on earlier albums: 'A Song For Jeffrey' and 'Inside'. The album offers the first live recording of Jethro Tull to appear on record: 'By Kind Permission Of' and 'Dharma For One' two tracks from their benefit-gig in Carnegie Hall, New York, November 1970.

'Living In The Past' is for most Tull-fans one of their favourites, since it shines a light on the evolution of Ian's songwriting capabilities and contains an interesting variety of songs.



Annotations

A Christmas Song

A Christmas song is Ian's first original work after the departure of Mick Abrahams. It is an acoustic, whimsical piece with an emphasis on mandolins and guitars (...). Lyrically he accomplishes a kind of social commentary:

When you're stuffing yourselves at the Christmas parties
You'll just laugh when I tell you to take a running jump
You're missing the point I'm sure does not need making:
The Christmas spirit is not what you drink.

This piece is important for a number of reasons. First, it clearly establishes his view on alcohol. Anderson remains a strong spokesman against drugs and alcohol for the duration of his career. He explains that he avoids intoxication because he feels it interferes with his creative process: he feels that he needs to remain clear-headed to accomplish the kind of self-analysis that he feels is a cornerstone of his writing (Lewis, 27). This attitude toward drugs and alcohol acted to distance him from his audiences and from his contemporaries. He felt as is he grew up in a generation that he didn't belong to. Unable to express the sentiments overtly without ostracizing much of his audience, his opinions toward drugs were "bottled up" and arose as bitterness and anger in his music toward the general culture of the times (Anderson 4). Anderson speaks disdainfully and condescendingly of the pace and greed of America in interviews at this time (Lewis 24).
I don't really agree. It's mentioned, certainly, but I think the song is 90% about the hypocrisy and contradictions of modern, commercial Christmases and the spiritual 'real' meaning of the festival. Alcohol is only mentioned in one line of the song, and the spoken humourous comment at the end is an admission that Ian isn't a Puritan watching from the outside - he wants a drink, too! I've never thought of Ian as anti-alcohol. Definitely anti-drug, particularly anti-cannabis, but he doesn't seem adverse to a quiet drink. I understand him being hostile to drunkenness, but that's a common attitude. It's important to distinguish the sources of intoxication! If he was anti-alcohol, his comments in the 20th Anniversary video, about visiting his local pub and hoping he'd still be able to have a quiet drink with his fans, wouldn't make sense. Peggy famously drinks rather a lot, so why did Ian employ him for so long if he was anti-alcohol? Ian publicly joked about Peggy's drinking habits in numerous concerts and interviews, and I think the only memorable quote from Peggy from his time with Tull was 'Success is being locked in the pub at closing time'. The album title 'Nightcap' and its graphics have a little to do with alcohol....
One point about this song is that the tune and lyrics of the first few lines are from a traditional Christmas carol. I learned the carol when I was about 5 years old; presumably Ian did too! The first verse is:
"Once in royal David's city
stood a lonely cattle shed,
where a mother held her baby,
in a manger for a bed."
See An Online Christmas Songbook if you want the full lyrics and sheet music.
* Neil R. Thomason
"A Christmas Song" is also a work that exists in a strong historical framework because it is presented as a kind of Christmas carol. Caroling is perhaps the oldest surviving English mid-winter tradition (Lloyd 98). It originated as a \par pagan ceremony of ring-dancing (118). Clearly Ian has changed the tone of the traditional Christmas carol, and that has a psychological impact that is difficult to measure. As a pagan tradition, caroling worked a kind of magic of rejuvenation: the winter was a dead time, and to insure the resurrection of the world in spring, the carolers would come to offer their songs and to take their reward (102). The carolers offered blessings of bountiful harvests, and in exchange, those receiving the carol would offer up some of their wealth - in either food or money - as a sort of mid-winter sacrifice (102). The rite is a product of an agricultural society in which the forces of nature need to be interacted with at a magical level in order to insure the survival of all. Ian's use of the carol form invokes strong connotations to anyone familiar with the holiday or with caroling. His song implies the loss of ties to ther meaning of the festivities. He says:

"How can you laugh when your own mother is hungry
and how can you smile when your reasons for smiling are wrong?".

It's clear that those with plenty are not giving to those who have none, and those who get to celebrate do not share the celebration. In a pagan sense, this abandoning of ritual not only fails to provide for the needy, it also endangers the rebirth of spring and all future harvests. These connotations carry over in modern sensibilities as well: there is a sense of distancing from the true nature of things and a sense of imminent repercussions. The song also begins to imply his attitude toward religion. This becomes clearer on his fourth album, Aqualung.
* Judson C. Caswell (SCC vol. 4 issue 92, Dec. 1993); adaptation Jan Voorbij ; Anderson, Ian: Trouser Press Magazine, Autodiscography, 1982, p. 1-13; Lewis, Grover: Rolling Stone: Hopping, Grimacing, Twitching, Gasping, Lurching, Rolling, Paradiddling, Flinging, Gnawing And Gibbering With Jethro Tull, 7/22/1971, p. 24-27; Lloyd, A.L.: Folk Songs In England, New York 1967.

I believe that the whole song is to be examined on a whole, not each line
picked apart and analyzed as carrying its own individual significance. The
song is almost like beign a third party watching a character Ian plays
interacting with a room full of Christmas partiers.
The intensity of the self-righteousness of the narrator's words and their
severity rise with the music, starting out sweet and low as are the Biblical
lyrics. "Once in royal David's city", and ending angry, loud and full of
threat, as the last statement is made.
Certain Christians have taken the meaning of their religion as something to
bash over the heads of the "Sinners". The narrator wastes no time in getting
there! The party, the food, the "Christmas spirit" that is "not what you
drink"; in the eyes of the narrator, all are not what one should partake in
if you were really a Christian.
Why? (as the music escalates) The narrator takes it to a new gloomy,
accusational level that has nothing to do with Christianity or Christmas;
Because you're having fun while "your own mother's hungry" (and) "your reasons for smiling are wrong"! At the appex of the angry, depressing rant, the zealot says, "Remember, if you wish, this is just a Christmas Song"!
Some people want power in the name of Christ or whomever, and they just want to use that power as a bludgeon to ruin it for everyone. This attitude is
not uncommonly found in puritanical Christian societies that created witch
hunts and punishments for ridiculous "sins" that the residents were accused.

I picture Ian's character singing this to a room full of partiers, and as he
makes his way down the hall, the gloom he spreads causes everyone to flee,
upset and unhappy. After the music has risen and his message made clear, the
narrator, alone in the party hall, asks Santa for that which he has damned
everone else. "Hey, Santa, pass us that bottle willya?"

I mean, hey, even if he is speaking the words of Devout Importance and
making everyone else miserable, he's only human, right?
* Fred Swan


Sweet Dream

This concerns the clandestine affair between a man and a woman, in which the woman is escaping from the confines of her home and the control of her family. In a sense, her lover seduces her in an almost mocking tone: "You'll hear me calling in your sweet dream, can't hear your daddy's warning cry"..."Get out and get what you can, while your mummy's at home a-sleeping". He also celebrates his victory over them: "No time to understand, 'cause they've lost what they thought they were keeping." It can also be interpreted to state that the relationship only exists in her dreams: "While in sweet dreams you softly sigh."..."No one can hear us in your sweet dream".
* Julie Hankinson


Driving Song

This song, written and recorded in March 1969, comments on the heavy touring scheme: "Have they ever taken time to see, that I need some rest if I'm to do my best?" and "Can I please stop workin'so hard (...) Got to think of my health. Can I be myself?". Jethro Tull toured the USA three times that year and Europe two times, performing 147 gigs in total and in between recording the 'Stand Up' album!


Just Trying To Be

This is a comment on society, and it's addressed towards the young population. The "they" that Ian refers to is the powers in authority, and their message to the youth is simple: "You're going wrong if their game you don't play." They also come down on how rock'n'roll is corrupting youth: "And that the song I sing will lead you astray." The rejection that Ian feels is that so many youth are choosing to follow in the hippie lifestyle, which he disapproves of: "Unfeeling, feel lonely rejection, unknowing, know you're going wrong". He sees a distinction between his band and practitioners of the hippie lifestyle, but others do not: "And they can't see that we're just trying to be and not what we seem". Also, his band is not prepared to deal with the sudden stardom they have gained: "And even now believe that it's not real and only a dream."
* Julie Hankinson


By Kind Permission Of

This instrumental piece of music, recorded at Carnegie Hall, New York in 1970, was inspired by a well known piece of classical music. "The piano part is Sonate nr. 8 in C-flat (C mol), Opus 13 by Ludwig von Beethoven (1770-1827). Sonate nr. 8 is better known as 'Pathetique'."
* Jeroen Louis
Another part is inspired by Rachmaninov and taken from 'Prelude in G Sharp Minor, Opus 3 nr. 2.
* Juha from Finland
The piece became known as "By Kind permission Of" because significant sections were borrowed from classical composers, all of whom were deceased and not in a position to give Evans permission to perform them. Apart from Beethoven and Rachmaninov parts were included from Claude Debussy's "Golliwog's Cakewalk".
* Jan Voorbij; source: Greg Russo, "Flying Colours, The Jethro Tull Reference Manual" (1999), pp. 56, 73.


Dharma For One

An instrumental with a vaguely "Eastern" feel, which features a (Clive Bunker) drum solo. The title is something of a piss take on the hippy / eastern philosophy thing which was a fad at the time. The whole Maharishi / Beatles / higher level of consciousness (i.e. drugs) trip which followed the psychedelic culture of the mid '60's and which Anderson detested. He could have called it Instant Dharma, thinking about it. Dharma, in the Buddhist sense, means the journey to enlightenment (Nirvana). In England in the old Tea Rooms or Caffs you asked for tea for one, if you were on your own, or tea for two. The joke is at the expense of those that thought enlightenment etc was as easy as ordering a cup of tea. Picture a Monty Pythonish old lady entering a tea room: looks at the blackboard menu, "Dharma, the path to enlightenment. Coo that sounds nice, think I'll 'ave some - Dharma for One, please luv. And an eccles cake". Its also a piss take at Clive Bunkers expense, really, Clive being in seventh heaven having had a song specifically written for him to take centre stage for once. A couple of years later, Anderson wrote some lyrics for the song which appear to be about the need for selflessness as opposed to selfishness if. The live performance of this song was recorded in 1970 in New York and released on this album.
* Matthew Korn


Wond'ring Again

This remarkable song, recorded in June 1970, just before the Aqualung sessions started, is the first one in which Ian criticizes the strive for continuous economic expansion that takes such a heavy toll from the environment (pollution, the waste of natural resources). This theme will be explored further, esp. on the 'Stormwatch' album (1979). Ian might have drawn his inspiration from the outcome of the research of a group of scientists led by Dennis Meadows, called The Club Of Rome. This group started their work in 1968 and got a lot of attention in the media. They pointed out that economic growth and over-population would within a few decades lead to an environmental disaster and the exhaustion of the natural resources. In 1972 they published the alarming results in a report called "The Limits To Growth", which had a huge impact. The book became a bestseller and was translated in 20 languages.
This economic growth eventually will lead to ".... the stillness of death on a deathly unliving sea" (and) "the natural resources are dwindling". The illusion of progress, that was so very present in the sixties/early seventies' society until the energy crisis in 1973 disturbed this "farflung illusion", is referred to in "... and the motor car magical world long since ceased to be". The over-population that will lead to starvation, poverty and increasing the exploiting of natural resources is mentioned in "... spawning new millions, throws the world on its side". In spite of all these problems the political parties, the press, functionaries etc., "brainwashing government lackeys", impose on us the illusion, that there is nothing to worry about, since all these problems can be overcome and we are heading for a new era of growth and wealth: "... we'll soon be on our way to a grand year for babies and quiz panel games of the hot hungry millions you'll be sure to remain". However, not everybody profits from the products of wealth, and those who don't are urged to solve their own problems, since society doesn't care: "And those with no sandwiches, please get off the bus" (and) "And those with no homes to go to, please pick yourself holes". Bear in mind that we find this critique once again in the 'Aqualung' title song, where Aqualung has to depend on 'salvation a la mode'.
Then, after depicting this almost apocalyptical scenery, the song becomes acoustic and Ian skillfully changes the perspective by reducing the problem to proportions we can identify with: a caring young couple, wandering "through quiet lands", aware of the damage done to nature ("searched for the last pigeon, slate grey I've been told"). When one of them unfortunately "stumbled on a daffodil" (a symbol of spring and new life) it triggers their "remorse and (...) touched by the loss of our own" and they realize something irreversible has happened: the daffodil is crushed, like nature in the first verse. They wonder what will become of their future children: will their eyes be opened when they grow up? Will they become people who value nature care for it?
From this song, especcially from the acoustic part, 'Wond'ring Aloud', one of the Aqualung acoustic gems, originated.
* Jan Voorbij

Jethro Tull released this EP with five songs in the autumn of 1970. Ian Anderson stated that people who were buying singles did not get not enough music for the price they paid, so he had three more songs added for the same amount of money. These five songs were added to the "Living In The Past" album.(Courtesy: Dave Gerber)

Up The 'Pool

The song is about Blackpool, where Ian had been living since he was twelve years old until he moved to London. Apart from being a big industrial town, Blackpool is a classical, very touristic seaside resort, like Brighton and Newquay. Ian stated that he dislikes Blackpool, calling it e.g. a shit-hole during gigs. In the summertime, the beaches are crowded with seaside visitors, in spite of the fact that the water is polluted. In a very picturesque way he describes the beach scenery in any given summer's day.


Most of the tourists came from London, 'the smoke' in the vernacular of north-west England and from the Midlands, one of Britain's biggest industrial areas: "I'm going up the 'Pool from down the smoke below". When Blackpool first took off as a resort, it was as result of increased mobility amongst the working class; for the workers of Liverpool and Manchester, Blackpool was THE place to go on vacation.

"..... to taste me mum's jam sarnies": sarnies is British slang for sandwiches. Note that Ian adopts the characteristic pronunciations of the area; 'me' rather than 'my'. This is even more apparent in the line which follows:"The candy floss salesman watches ladies in the sand...". Listen to the song again; you'll notice the hard 'a' of 'cAn dy... mAn... sAnd'. Someone from, say, London, would generally pronounce 'salesman' as 'sails-mn'. Ian hence stresses the distinct nature of the place and the Lancashire accent.

The dominant feature of the Blackpool skyline, visible for miles, is the Blackpool Tower, situated on the seafront: "The iron tower". It rises out of a building containing a zoo and a ballroom. The boulevard along the seafront is a mile of amusement arcades, cafes, fish & chip shops, tea stands and other tacky ways of separating visitors from their money (sorry, Blackpool Tourist Board!); this is "the Golden Mile", where one will also find all kind of attractions like a fair and casinoes to attract tourists. At either end of the Mile are a vast number of guest houses, another central feature of the town. The fierce Blackpool landlady is nationally, if not internationally, renowned. They generally offer bed, breakfast and evening meal, and no more; whatever the weather, one must vacate the premises during the day. So, if the line doesn't refer to guests drinking tea with their breakfasts, Ian probably means people huddled in bus shelters drinking tea from vacuum flasks! He should know, for his parents ran a boarding house and grocery store in Blackpool! The song 'Big Dipper' from the 'Too Old To Rock 'n' Roll' album is about Blackpool too. In the album sleeve's cartoon, the panel entitled 'Home' actually shows the Tower. There is a Big Dipper on the Golden Mile.
* Jan Voorbij & Neil Thomason

"The politicians there, who've come to take the air.....". Each year, the British political parties hold conferences to discuss policy (allegedly); for some reason, seaside resorts always host such events. The terrorist bombing of the Grand Hotel in Brighton in the 1980s probably made the news internationally; that was one such conference. In this song, Blackpool is the host resort. By the way, I don't think the Labour Party always visits Blackpool, and it isn't only the Labour Party which visits. In this song, however, I'm pretty sure the Party in question is indeed Labour: "while posing for the daily press, will look around and blame the mess on Edward Bear", i.e. pretend the mess isn't the Party's fault! In 1971/2, when the album was recorded, the Prime Minister was Ted Heath. So the Labour Party, then in oposition, were blaming the mess on the Conservative administration. In 1971/2, when the album was recorded, the Prime Minister was Ted Heath (therefore Ted R Teddy Bear R Edward Bear; Edward Bear is also the real name of Winnie-the-Pooh). So the Labour Party, then in oposition, were blaming the mess on the Conservative administration.

Now the 'chorus'; snapshots of Blackpool: "There'll be buckets, spades and bingo, cockles, mussels, rainy days....". Amongst the rows of slot machines and video games, the Golden Mile has several bingo halls. In Lancashire, it rains a LOT. "... seaweed and sand castles, icy waves": Blackpool is on the west coast of Britain, dominated by Atlantic weather systems; the Irish Sea is seriously cold most of the time. "... Deck chairs, rubber dinghies, old vests, braces dangling down ...": The stereotypical picture of the British workman on holiday was of a middle-aged, balding man with a toothbrush moustache, wearing a string vest and fairly formal trousers rolled up to the knee to reveal socks and shoes. The trousers were held up by braces and his bald patch covered by a handkerchief knotted at each corner. Anyone recognise Monty Python's Mr. Gumby? I have to point out that this image is as accurate as the City gent wearing a Bowler hat and carrying an umbrella, or as accurate as the typical American wearing a Stetson....
* Neil Thomason

Dr. Bogenbroom

For me, this song is about the rat race we all run within the material driven, economic world we live, the resulting stress it places on people, and finally disenchantment.
* Phil Vaughn


Nursie

Like the Aqualung-song "Cheap Day Return", Ian drew the insipration for this personal song from a visit to his father in a hospital in Blackpool. Both songs were written in the train back to London. This one deals with Ian's difficult feeling of leaving his father's life (or what's left of it) in the hands of nurses and doctors in the hope they will take good care of him, fearing that he will die in his absence so he might not see him alive again.
* Jan Voorbij (Source: Jethro Tull Songbook, Karl Schramm (ed.), Heidelberg, Germany, 1993, p. 12)



Living In The Past
Mobile Fidelity Gold CD release
--------------------------------------------------------------------------------


Tracks (click the tracks for lyrics):
Disc 1:
1 Song For Jeffrey 3:20
2 Love Story 3:02
3 Christmas Song 3:05
4 Living In The Past 3:20
5 Driving Song 2:39
6 Bouree 3:43
7 Sweet Dream 4:02
8 Singing All Day 3:03
9 Teacher 4:08
10 Witch's Promise 3:49
11 Inside 3:45
12 Alive And Well And Living In 2:45
13 Just Trying To Be 1:36

Disc 2:
1 By Kind Permission Of (live) 10:11
2 Dharma For One (live) 9:58
3 Wond'ring Again 4:12
4 Hymn 43 3:17
5 Locomotive Breath 4:24
6 Life Is A Long Song 3:18
7 Up The 'Pool 3:10
8 Dr. Bogenbroom 2:59
9 For Later 2:06
10 Nursie 1:36

Release date: 09. September 1997 (USA)
Recording location/date: Various studios and live performances.
Guest musicians: Lou Toby (conductor, string arrangement on disc 1, track 4)
Production: Terry Ellis and Ian Anderson
Cover Concept by: -
Cover Art by: CCS
Musicians:
DISC 1:
Ian Anderson (flute, balalaika, mandolin, Hammond organ, acoustic guitar, vocals) plays on all tracks
Mick Abrahams (electric guitar) plays on tracks 1 - 2
Martin Barre (electric guitar) plays on tracks 4 - 12
Clive Bunker (drums, glockenspiel, percussion) plays on tracks 1 - 12
Glenn Cornick (bass, Hammond organ) plays on tracks 1 - 10 and 12
John Evans (celeste, piano) plays on tracks 9 - 10 and 12 - 13
Jeffrey Hammond-Hammond (bass, backing vocals) plays on track 11
David Palmer (orchestral arrangement and conducting) plays on tracks 3 and 7
DISC 2:
Ian Anderson (flute, balalaika, mandolin, Hammond organ, acoustic guitar, vocals) plays on all tracks
Martin Barre (electric guitar) plays on tracks 1 - 9
Clive Bunker (drums, glockenspiel, percussion) plays on tracks 1 - 5
Glenn Cornick (bass, Hammond organ) plays on tracks 1 - 3
John Evans (celeste, piano) plays on tracks 1 - 9
Jeffrey Hammond-Hammond (bass, backing vocals) plays on tracks 4 - 9
Barriemore Barlow (drums) plays on tracks 6 - 9






Living In The Past
--------------------------------------------------------------------------------


Tracks (click the tracks for lyrics):
1 Song For Jeffrey 3:24
2 Love Story 3:07
3 Christmas Song 3:09
4 Living In The Past 3:23
5 Driving Song 2:44
6 Bouree 3:47
7 Sweet Dream 4:06
8 Singing All Day 3:07
9 Teacher 3:59
10 Witch's Promise 3:49
11 Alive And Well And Living In 2:48
12 Just Trying To Be 1:36
13 By Kind Permission Of (live) 10:10
14 Dharma For One (live) 9:58
15 Wond'ring Again 4:16
16 Hymn 43 3:19
17 Life Is A Long Song 3:22
18 Up The 'Pool 3:15
19 Dr. Bogenbroom 3:01
20 For Later 2:08
21 Nursie 1:36

Release date: 23. June 1972 (UK) and 31. October 1972 (USA)
Recording location/date: Various studios and live performances.
Guest musicians: Varius, see musicians.
Production: Terry Ellis and Ian Anderson
Cover Concept by: -
Cover Art by: CCS
Musicians:
Ian Anderson (flute, balalaika, mandolin, Hammond organ, acoustic guitar, vocals) plays on all tracks
Mick Abrahams (electric guitar) plays on tracks 1 - 3
Martin Barre (electric guitar) plays on tracks 4 - 21
Clive Bunker (drums, glockenspiel, percussion) plays on tracks 1 - 11 and 13 - 16
Glenn Cornick (bass, Hammond organ) plays on tracks 1 - 11 and 13 - 15
John Evans (celeste, piano) plays on tracks 9 - 21
Jeffrey Hammond-Hammond (bass, backing vocals) plays on tracks 16 - 21
Barriemore Barlow (drums) plays on tracks 17 - 21
David Palmer (orchestral arrangement and conducting) plays on track 7



Living in the Past
Date of Release Oct 1972

Listen to this 20-song collection, put together to capitalize on the explosive growth in the group's audience after Aqualung, and it is easy to understand just how fine a group Jethro Tull was in the early '70s. Most of the songs, apart from a few heavily played album tracks ("Song for Jeffrey" etc.) and a pair of live tracks from a 1970 Carnegie Hall show, came off of singles and EPs that, apart from the title song, were scarcely known in America, and it's all so solid that it needs no apology or explanation. Not only was Ian Anderson writing solid songs every time out, but the group's rhythm section was about the best in progressive rock's pop division. Along with any of the group's first five albums, this collection is seminal and essential to any Tull collection, and the only compilation by the group that is a must-own disc. - Bruce Eder

1. Song for Jeffrey (Anderson) - 3:20
2. Love Story (Anderson) - 3:02
3. Christmas Song (Anderson) - 3:05
4. Living in the Past (Anderson) - 3:20
5. Driving Song (Anderson) - 2:39
6. Bouree (Anderson) - 3:43
7. Sweet Dream (Anderson) - 4:02
8. Singing All Day (Anderson) - 3:03
9. Teacher (Anderson) - 4:08
10. Witch's Promise (Anderson) - 3:49
11. Inside (Anderson) - 3:45
12. Alive and Well and Living In (Anderson) - 2:45
13. Just Trying to Be (Anderson) - 1:36
14. By Kind Permission Of (Evan) - 10:11
15. Dharma for One (Anderson/Bunker) - 9:58
16. Wond'ring Again (Anderson) - 4:12
17. Hymn 43 (Anderson) - 3:17
18. Locomotive Breath (Anderson) - 4:24
19. Life Is a Long Song (Anderson) - 3:18
20. Up the 'Pool (Anderson) - 3:10
21. Dr. Bogenbroom (Anderson) - 2:59
22. For Later (Anderson) - 2:06
23. Nursie (Anderson) - 1:36

Ian Anderson - Guitar (Acoustic), Flute, Guitar, Mandolin, Violin, Balalaika, Organ (Hammond), Vocals, Guitar (12 String), Producer, Tin Whistle, Mixing Direction, Remix Direction
Jethro Tull - Producer
John Wood - Engineer
Mick Abrahams - Guitar, Guitar (Electric)
Martin Barre - Guitar (Acoustic), Guitar, Guitar (Electric), Vocals (bckgr), Descant
Barriemore Barlow - Drums
Robin Black - Engineer, Remixing, Mixing
Clive Bunker - Percussion, Drums, Glockenspiel, Vocals (bckgr)
John Burns - Supervising Engineer
Ed Caraeff - Photography
Glen Cornick - Bass, Guitar (Bass), Organ (Hammond)
John Evan - Organ, Percussion, Piano, Celeste, Harpsichord, Keyboards, Organ (Hammond), Vocals (bckgr), Mellotron
Victor Gamm - Engineer
Jeffrey Hammond-Hammond - Bass, Guitar (Bass), Alto Recorder
Andy Johns - Engineer
Kim King - Engineer
Ruan O'Lochlainn - Photography
David Palmer - Synthesizer, Conductor, Keyboards, Saxophone, Engineer, String Arrangements, Orchestral Arrangements
Lou Toby - Strings, Arranger, Conductor, String Arrangements
Tony Lowe - Photography
Brian Ward - Photography
Sam Emerson - Photography
Michael Graber - Photography
Jackie O'Lachlainn - Photography
Terry Jones - Producer, Executive Producer

CD Chrysalis F2-21035
1972 LP Chrysalis 2106
1990 CS Chrysalis 21035
1990 CD Chrysalis 21035
1997 CD Mobile Fidelity 708
CS Chrysalis F4-21035
1996 CD Alliance 21035
1991 CS Alliance 21035


Alive And Well And Living In

Nobody sees her here, her eyes are slowly closing.
If she should want some peace, she sits there, without moving,
and puts a pillow over the phone.
And if she feels like dancing no one will know it.
Giving herself a chance there's no need to show her how it should be.
She can't remember now when she was all in pieces.
She's quite content to sit there listening to what he says.
How he didn't like to be alone.
And if he feels like crying she's there to hear him.
No reason to complain and nothing to fear, they always will be...






Tentative Review #96
Jethro Tull
Living In The Past
(released 1972)

--------------------------------------------------------------------------------
Track: Rating:
1. Song For Jeffrey
2. Love Story
3. Christmas Song
4. Living In The Past
5. Driving Song
6. Sweet Dream
7. Singing All Day
8. Witches Promise
9. Inside
10. Alive And Well And Living In
11. Just Trying To Be
12. By Kind Permission Of
13. Dharma For One
14. Wond'ring Again
15. Hymn 43
16. Life Is A Long Song
17. Up The 'Pool
18. Dr. Bogenbroom
19. For Later
20. Nursie

(some pressings also contain "Bourree", "Teacher" and "Locomotive Breath", all of which are available on other Tull studio albums)

Personnel:
Mick Abrahams: electric guitar (tracks 1-2)
Ian Anderson: lead vocals, flute, acoustic guitar, harmonica on "Song For Jeffrey" and "Love Story", mandolin and tin whistle on "Christmas Song", 12-string guitar on "Sweet Dream", balalaika and Hammond Organ on "Singing All Day", mandolin on "Inside", violin on "Up The 'Pool"
Barriemore Barlow: drums (tracks 16-19)
Martin Barre: electric guitar (tracks 4-10, 11-19), acoustic guitar on "Witches Promise" and "Life Is A Long Song", backing vocals on "Dharma For One"
Clive Bunker: drums and percussion (tracks 1-10, 12-15)
Glenn Cornick: bass (tracks 1-10, 12-14), Hammond Organ on "Singing All Day", backing vocals on "Dharma For One"
John Evan: piano and Hammond Organ (8-19), mellotron on "Witches Promise", celesta on "Just Trying To Be", harpsichord on "Dr. Bogenbroom", backing vocals on "Dharma For One"
Jeffrey Hammond-Hammond: bass (tracks 15-19)
David Palmer: orchestral arrangements on all orchestrated tracks except "Living In The Past"
Lou Toby: orchestral arrangement on "Living In The Past"

--------------------------------------------------------------------------------

Comments:
Between 1968 and 1972, Jethro Tull pulled off two amazing accomplishments -- they rose from an obscure progressive-blues band to international progressive rock stars, and they went through an almost complete membership turnover in the process (with only Ian Anderson lasting to the end of this period). Given this, a double-LP history of their "odds and ends" from this highly transitional period makes perfect sense.

The tracks on Living In The Past document Tull's origins and early development. From the ragged beauty of "Song For Jeffrey" to the relative compositional maturity of, say, "Life Is A Long Song", the difference of only a few years is quite pronounced (both due to Anderson's development as a writer and the acquisition of band members more suitable to his tastes). The is an essential purchase for any serious Tull fan, of course -- newcomers might be advised to start somewhere else (Aqualung for casual fans, Warchild or Passion Play for confirmed prog fans), but this wouldn't be a terribly bad choice even so.

The album begins with a track from This Was, their debut album. "Song For Jeffrey", driven by the ill-fated partnership of Ian Anderson and Mick Abrahams, shows JT as they never really were, but presumably wanted to be in their earliest days. After a cool flute and bass introduction typical of the "blues-turning-to-progressive" British bands of the period, the band turns to their adaptation of traditional blues stylings, with Anderson's harmonica acting as the lead instrument between verses. Anderson's voice is muffled/distorted throughout the song, giving it an "archival" feel of sorts; Abrahams is given an accompanying role, and fills it quite nicely. As an opening statement for an album of this sort, its doubtful that they could have chosen anything better.

The album then shifts to "Love Story" (which, as per most tracks here, had not previously been released on an album). In contrast to the quasi-psychedelic blues stylings of the previous track, this one works as more of a folk/hard rock number. Anderson sings this one extremely well, shifting between the "heavy" and "pastoral" moods fairly easily; Bunker, meanwhile, adds percussion lines which prove that the band really did lose something with his departure. Abrahams has a more subdued role here (wonder why...) until a psychedelic mini-solo in mid-song, which then leads to a duet with Anderson (on mandolin). A case could be made that the instrumental parts on "Wind Up" were first mapped out here. One way or the other, though, its another good number.

Mick Abrahams left the group after This Was under less than ideal conditions, and was replaced by the dependable-if-limited Martin Barre. In the interregnum period prior to Barre's joining, however, the band managed to come up with "A Christmas Song", a well-intentioned holiday message song that ultimately comes up a bit short of its aim. The introductory section of bells, tin whistles, mandolins and horse-trotting captures a Dickensian mood effectively enough, but Anderson's nativity depiction isn't overly convincing. There isn't anything terribly wrong with the music, but the entire idea seems a bit half-baked (and David Palmer's middlebrow orchestrations aren't really a strong point in its favour). It's not a "skip-over" track, but neither is it one of the stronger ones here.

With Barre now on board, our survey then takes us to "Living In The Past", a non-album track which reached #11 in the United States on its initial release (thereby tying it with "Bungle In The Jungle" for JT's biggest hits in this country). The poppish background to the track is tasteful enough, but a tad limited. Martin Barre proves himself a more secondary figure than was Abrahams, giving up the spotlight almost entirely to Anderson. Anderson, in turn, doesn't exactly give the vocal performance of his career here; the instrumental outro is the best part of the song, easily. One wonders if the quietism promoted in this song is enough to verify that Ian was a Tory then as well (though, one way or the other, the final reprise of the chorus probably should have been cut).

We then turn to "Driving Song", a darker blues number than before. Barre and Cornick put forward a rather thick riff, over top of which Anderson provides lyrics suggesting both sexual endeavours and blue-collar labour. This seems, as such, to be something of a one-trick number; from a purely musical basis, the fairly ordinary rock line doesn't go terribly far, and the guitar solo is easily ignorable. Anderson's flute solo at the end saves the track somewhat. Again, a decent number, but not a vital one.

From thence to "Sweet Dream", a better number taking the listener back in a progressive-psychedelic direction (and not a bit too soon, I might add). Through the first orchestral bits could have been mixed in a bit better, the general arrangement of this one is a step in the right direction -- and overtly proggy closing section and a psych-guitar solo from Barre are among its better points. Some might not a vague similarity to "Teacher", but this shouldn't ruin the listening experience.

We then come to a minor sideways-step, as "Singing All Day" takes the album's course into a somewhat lighter direction. The lyrics to this one are fairly compelling -- concerning unfulfilled romantic desires portrayed in traditional English folk style -- but the music, well, isn't so much. The song is clearly meant as a laid-back number of sorts, and probably could have been done a bit better as such; Bunker's performance is probably the best of the lot. The Hammond team of Anderson and Cornick doesn't really break new instrumental boundaries, though this reviewer will admit that the introduction of keyboards here is a decent enough introduction to the next membership change as any ...

... And that being the addition of John Evan, consolidating the band's movement in a more progressive direction. With this new revamped lineup, the lads explore further musical developments on "Witches Promise" -- the acoustic/folk elements seem stronger than before, the actual songwriting elements are better, and the bridge section resembles nothing so much as Trespass-era Genesis. This track, clearly, shows the directions which Tull would explore in later years.

The album then takes another sideways shift with "Inside" (also available on the Benefit album). Ian's lyrics focus on the differences of travelling and domestic life, with a clear preference shown for the simplicity of the latter. The lyrics may actually be a bit too simple, actually, with the "enjoying life's simple pleasures" routine not holding up as well as some of Anderson's better moments from the same era. The guitar mixing is somewhat interesting by virtue of its sheer inaudibility, though, thankfully, the flute lead partly makes up for this. A good enough three-minute number, but not an album highlight.

We then proceed to "Alive And Well And Living In", the first real triumph of the album. Anderson's tale of a frustrated female character living in urban isolation (could this have been a deliberate counterpart to "Inside"?) works very well -- as "songs-qua-songs" go, this one is extremely good. From a musical level, moreover, Barre finally comes alive in this number, adding a significant part which ultimately increases the progressive value of the track -- Evan's leadoff line is fairly good too.

"Just Trying To Be" features only two JT members: Anderson and Evan. This rather gentle number tells a "child's maturation" story without terribly many really interesting observations (though the crib-toy sound effect works well). As this is rather brief, however, it can be bypassed fairly easily.

The album then moves to two extended numbers from an appearance by the band at Carnegie Hall. After a few timekiller spoken word jokes, "By Kind Permission Of" provides the John Evan solo feature of the work. Evan's variations move through classical pastisches to jazz noodlings to blues flavourings -- Anderson joins in on flute on one occasion. As a classical pianist, Evan wasn't exactly a world-class player; as far as JT standards go, though, this is an extremely impressive work (besides which, the shifts in style have their own value). After nine minutes, the entire band finally kicks in, leading to an impressive instrumental ending. The piece isn't an unbroken triumph from beginning to end, but, as a comprehensive whole, this is beyond a doubt an impressive number.

After another timekiller joke about tellies, the band then moves onto a version of "Dharma For One" (original on This Was, where it was an instrumental). The lyrics to this track are among the best of Ian's early career, and the organization of the arrangement is superior to anything else on the album. Evan adds this role well in accordance with the original intention of the song, and Barre handles Abrahams's part quite well (with a hint of "Locomotive Breath" in the process). As the backing vocals section well proves, JT were capable of making an "out there" prog track when they wanted to. This would easily receive a five-star rating were it not for the matter of Bunker's drum solo. While this reviewer can respect the fact that drum solos might have to be heard in context on some occasions, and that Bunker deserves a spotlight of some sort on the album, I still cannot justify giving the track a five-star rating as such (though I'd note that this isn't really anyone's fault).

Next comes "Wond'ring Again", an obvious companion piece to "Wond'ring Aloud" (from Aqualung) -- despite the title, it actually predates the other track by a bit of time. The track begins with folky-prog tones and "world-malaise" lyrics focusing on the abandonment of poorer classes in various "great social leaps forward" -- the sarcasm actually works better here than one might expect. Following this, the track undergoes a sudden shift to a description of Anderson and his partner walking down a quiet country path; the dichotomy comes through quite well. Barre's addition (after the daffodil is crushed) works fairly well too. This could have been added to Aqualung fairly easily.

By this time, Cornick was replaced by Jeffrey Hammond(-Hammond), Ian's old bass-playing friend from earlier years. In commemoration of his arrival, we have "Hymn 43", originally released on the Aqualung album (thereby meaning that it was released twice within the span of a year or so -- rather odd, that). The combination of blues guitar and proggy flute and piano has a rather odd effect -- the blues-rock elements seem ultimately to define the piece in more detail than the others (which, I should note, does not significantly reduce the quality of the piece). The lyrics, concerning fraudulent heroic imagery (in both Christianity and American mythology), come off fairly well. Not the best track on Aqualung, this is still a pretty good representative of the album.

Bunker is replaced by Barlow at this point, and we proceed to a series of brief tracks from the period before and surrounding Thick As A Brick. "Life Is A Long Song" could easily have been one of the shorter tracks on Aqualung -- this subtle number captures the protagonist's sense of urban frustration quite well, and his demise at the end of the track combines novelty and serious flavours without too much difficulty. This then leads to the absurd "Up The 'Pool", a (British) folky number sung in an absurd Blackpool accent -- with, of course, numerous references to elements of the popular culture in this area. Downright bizarre, but not a bad number.

"Dr. Bogenbroom" has some some progressive potential, but never quite makes it all the way there -- the basic structure of Warchild's tracks might perhaps be seen within this number from a musical basis, though the lyrics are something a bit different. Perhaps a bit more work would have yielded a better result here. "For Later" is an instrumental number, driven by keyboards, guitar and flute on differing occasions. This is actually an extremely impressive number, with numerous clever shifts along the way (and, am I alone in thinking that the intro owes a little bit to "For Example" by The Nice? The title might be regarded as a clever reference, if so...).

As per Minstrel In The Gallery and Broadsword And The Beast, the album then ends with a brief Anderson number. "Nursie" has a relaxed, pastoral tone which seems appropriate for closing out the work. Nothing spectacular, but it fits.

And such is Living In The Past. Twenty songs -- or a bit more, should you possess the vinyl version -- and not a bad one in the lot. The quality varies from track to track, of course, and the band ethos varies from incarnation to incarnation, but the songs themselves all stand up to scrutiny.

Recommended for anyone interested in this period of Tull history, though either Aqualung or Benefit should probably be purchased first.

The Christopher Currie
(review originally posted to alt.music.yes on 25 April 1998)