01	Fat Man						02:51
	02	Life is a long song						03:17
	03	Cheap Day Return						01:22
	04	Mother Goose						03:52
	05	Wond'ring Aloud						01:54
	06	Thick as a Brick (intro) (Edit No 1)						03:02
	07	Skating Away (on the thin ice of a new day)						04:10
	08	Cold Wind to Valahalla (intro)						01:29
	09	One White Duck/O10=Nothing at All						04:37
	10	Salamander						02:51
	11	Jack in the Green						02:29
	12	Velvet Green						06:02
	13	Dun Ringill						02:41
	14	Jack Frost and the Hooded Crow						03:22
	15	Under Wraps 2						02:14
	16	Jack-A-Lynn						04:56
	17	Someday the sun won't shine						02:00
	18	Broadford Bazaar						03:38
	19	The Water Carrier						02:56
	20	Rupi's Dance						03:00
	21	A Christmas Song						02:49
	22	Weathercock						04:20
	23	One Brown Mouse						03:40
	24	Pastime With Good Company (Live in Denmark)						04:13

Jethro Tull [UK]

Discography

This Was (68)
Stand Up (69)
Benefit (70)
Aqualung (71)
Thick As A Brick (72)
Living In The Past (72, Compilation)
A Passion Play (73)
War Child (74)
Minstrel In The Gallery (75)
Too Old To Rock And Roll, Too Young To Die (76)
"M.U." - Best Of ... (76, Compilation)
Songs From the Wood (77)
Repeat - The Best of Jethro Tull - Vol II (77, Compilation)
Heavy Horses (78)
Live - Bursting Out (78)
Stormwatch (79)
A (80)
Broadsword And The Beast (82)
Under Wraps (84)
Original Masters (85, Compilation)
Crest Of A Knave (87)
20 Years Of Jethro Tull Boxed Set (88, 3CD Compilation, Live, Previously unreleased)
20 Years Of Jethro Tull (88, 1CD Compilation, Live, Previously unreleased)
Rock Island (89)
Live At Hammersmith '84 (90)
Catfish Rising (91)
A Little Light Music (92)
25th Anniversary Boxed Set (93, 4CD Live and Remixes)
The Best Of Jethro Tull: The Anniversary Collection (93, 2CD Compilation)
Nightcap (93, 2CD Previously unreleased)
Roots to Branchs (95)
j-tull.com (99)
Living With The Past (02, DVD & CD)


Reviews
I've learned over the years that you can't start a discussion about Jethro Tull with someone who is unfamiliar with the band without explaining the name first, so let me get that out of the way right now: Jethro Tull is a *band*, not a solo act. That's why they get filed under "J" and not "T". The situation is further confused by the fact that ever since the second album, the group has been fairly thoroughly dominated by one person, lead singer/flautist/acoustic guitar/a bunch of other things Ian Anderson. Ian Anderson is not Jethro Tull. Jethro Tull is not a "he." Call Jethro Tull a "he" and you look like a poser. You have been warned.

Anyway, when they started out, Tull were nothing more than your basic blues band, except that most blues bands don't have a lead singer who moonlights as a flautist. The band was composed of Ian Anderson, Mick Abrahams (guitar), Glenn Cornick (bass) and Clive Bunker (drums). The first album (This Was) isn't a bad album, but it's pretty much straight blues with very little progressive about it. I wouldn't make it high on my list of priorities. The second album (Stand Up) saw the departure of Abrahams (he and Anderson kept arguing over who should be in charge, and Anderson won) and his replacement by Martin Barre, whom Anderson had never heard play despite Barre having adutioned twice for him. (It's a long story which I don't intend to get into right now.) In many places this is still your basic blues album with a little psychedelia thrown in for good measure, but Anderson's style begins to creep through with some of the more lighthearted songs such as "Fat Man" and "Jeffrey Goes to Leicester Square." These songs are more whimsical than the others, and the music is more acoustic -- electric guitars give way to acoustic guitars and balalaikas, and the drum kit gives way to bongos and tambourines. This entire album, and most of all the albums that would follow, were written entirely by Anderson. The third album (Benefit) was the culmination of this era (eras for Tull tend to last three albums) -- there are still a few straight blues songs, but acoustic guitar and flute gain a highly prominent role. However, this album is much more serious than Stand Up. It is one of their finer works, and should be relatively high on the list of Tull albums to buy.

On to the second era, which was their most progressive. The first album in this era was Aqualung. This is the quintessential Tull album, and if you buy anything else by them before this one you should be well aware of just how perverse you're being. The blues on this album is almost entirely gone, replaced in many instances with a hard rock/classic rock sound. The whimsical songs have returned, but the serious songs have gotten *very* serious -- generally dealing with socioreligious themes. I've heard three thousand explanations as to what exactly the "concept" to the album is, so I leave it to you to decide what the real one is. Anderson claims that it isn't a concept album at all. He says that about all of Tull's albums. Nobody believes him. Oh, one other note about Aqualung. It's probably the most danceable prog albums you'll ever hear, especially the guitar solo in the title song.
Anyway, the next two albums were clearly concept albums, as each one consists of only one song apiece. The first is Thick as a Brick, a highly disjoined song with some absolutely amazing sections and a few that will bore you to tears. Nevertheless, this should be the second album you get. The other one, A Passion Play, is more unified musically, with the result that none of it is as bad as the worst of Brick, but none is as good as the best of Brick. Some people (including me) absolutely love this album, and others hate it. Decide for yourself.

It is with these albums, especially Thick as a Brick, that the most basic parts of Jethro Tull became firmly established. Of course, many of them had been developing since the first or second album, but here they all fell into place. First and foremost was a style which was more basic than most progressive bands. Tull were never very big on having the latest technology on their albums. They finally got around to using a synthesizer on A Passion Play, which came out in 1973. For years the only keyboards used were a piano and Hammond organ. There was heavy emphasis on acoustic instruments -- especially acoustic guitar and flute. Most of the musical extravagance was in the varied instrumentation -- including everything from trumpet to sopranino saxophone to accordion to the aforementioned balalaika. Lyrically, the topics tackled were often grandiose, but the approach was often vulgar -- A Passion Play, for example, discusses the nature of afterlife and one man's struggle to choose between good and evil, all the while making lyrical references to wetting one's drawers, ladies being laid, girls losing their virginity to horses, and so forth. Although the exact way these facets of Anderson's writing style were presented would change over the years, and although he would at some point or another move away from them altogether, these nevertheless would define the sound of Jethro Tull for the rest of their heyday (which would last until some time around the release of the album A).

About this time they released a compilation of singles entitled Living in the Past. This is the only album that Rolling Stone in its infinite wisdom saw fit to give a five-star rating to. Don't let this fact worry you too much, it still is a good album. The next era doesn't have a very clear delineation. It begins with War Child, which marks a move back to normal-length songs and has a relatively poppish feel to it. It still has its whimsical and acoustic moments, but overall it's a pretty straightforward work. The next album, Minstrel in the Gallery, is more of a return to their earlier sound. Heavily acoustic, but searing when electric; usually more pensive than whimsical; it's the closest in feel to Aqualung of any of their albums. Rounding out this period is Too Old To Rock 'n' Roll; Too Young To Die!, about which the less said the better. It's even more straightforward rock than War Child, and almost completely lacking on whimsy.

With their next album, they took a sharp turn towards more traditional music, although this was mixed as always with a hard, rock edge. Songs from the Wood is heavy on mandolins, whistles, and portative organs. At its best, it includes some of the best work they ever did. The next album, Heavy Horses is (like A Passion Play) a more refined counterpart to its immediate predecessor. Rounding out this trilogy is Stormwatch. This album is considerably darker than its predecessors, and almost completely lacking in any light-hearted pieces. Nevertheless, it has some of their most stunning work, and is easily their most underrated album. With the next album, they picked up Dave Pegg, the bassist from the folk band Fairport Convention, so of course this means that Tull had to take a turn away from folk music. This happened because Anderson was working on a solo album, which included Barre and Pegg, and somehow turned into a Jethro Tull album when no one was looking. It is completely unlike just about every other Tull album ever made. Highly electric (it is the only album by Jethro Tull to feature no acoustic guitar at all) and co-written by keyboardist Eddie Jobson, it only barely qualifies as a Jethro Tull album at all. This should not be high in your list of priorities.

The next album -- Broadsword and the Beast -- was a more successful. It is in some ways a return to the Songs from the Wood era, heavy on the mandolins and acoustic guitar. However, this time the folk elements are joined in many places not by hard rock but by a highly electronic sound aided by the heavy use of synthesizers. The next album, Under Wraps, went whole hog on the synthesizers, and with the exception of one song ("Under Wraps #2") completely forewent acoustic instruments. If it gives you any idea what this album is like, one critic said that Anderson's voice was the only way you could tell this wasn't Ultravox. And the scary part is this is a pretty accurate description. The next album (Crest of a Knave) marked a definite return to their earlier sound. Back were the acoustic instruments, and the keyboards which had recently dominated were now largely relegated to the role of background accompaniment. Actually, it sounds highly reminiscent of Dire Straits in a lot of places, partly because of Barre's guitar and partly because Anderson's voice by now had been shot by throat cancer. However, the album is worth it just for the song "Budapest," a highly successful mixture of acoustic and electric rock. Unfortunately, this album seems to have been the last major creative work by the band. The last two albums (Rock Island and Catfish Rising) have been little more than an attempt by a "classic rock" band to make "classic rock" music, and the majority of their output in recent years has been boxed sets.

That being said, however, a word should be said about the first boxed set, called 20 Years of Jethro Tull. This set is what every boxed set should be. There are almost no pieces available elsewhere on this set. By far the majority of it is rare tracks (many never released) and live performances. If you can still find it, pick it up. -- Scott Rhodes

Jethro Tull recorded their first album in 1968 and have been in existence since then, with a break in the mid 80s. The group's music is written by their vocalist Ian Anderson, who plays the flute - perhaps the group's most defining feature to the newcomer. Other personnel have come and gone, the only other long-serving member being electric guitarist Martin Barre, who has been in the group since their second album, but the music's direction has always been dictated by Anderson. Jethro Tull are very well known and perhaps as a result of this many people have misconceptions of the band, their ideas about the band being dominated by the image of Anderson as frenetic flute-playing court jester rather than any notion of what the music is like. A common misconception is that Jethro Tull is folk-rock, but in fact their work shows little influence of English and Celtic folk music other than in the lyrics to some of the songs. Their first four albums - This Was, Stand Up, Benefit and Aqualung - all show a progression from a blues-inspired band to a more distinctive sound, though still with a heavy blues/rock influence. This Was was co-written by Anderson and electric guitarist Mick Abrahams, who was responsible for the bluesier aspects of the album. Abrahams left after the album, going on to play in Blodwyn Pig. The second album, Stand Up, was almost completely written by Anderson. Though some of the songs show the distinctive Tull composition style, much of it is still firmly rooted in the blues, probably a sign of Anderson's novice status as a songwriter. The third album Benefit contains stronger material, and indications of the direction that Anderson's songwriting was to take are present. "Nothing to Say" has a typical oblique Tull melody, whilst "Inside" shows the gentler side of Tull, with a sparse arrangement of drums, bass and flute to Anderson's tuneful vocal line. The album is flawed however, some of the arrangements being rather too dense and lacking in development of musical themes. The final and best album in this phase is Aqualung. It alternates powerful electric tracks with gentler acoustic pieces, which are basically just Anderson on acoustic guitar and vocals. There is not much variety on the album; indeed, many of the songs are very similar in construction, but the material is so strong that the album is still a winner. Sparse arrangements are used to great effect - in "Cross-Eyed Mary," for example, drums and a pentatonic guitar riff are used to create an infectious drive to the piece. The blues influence is still there in the use of the pentatonic scale and in the character of the soloing, but the sound is now distinctively Tull's own. Lyrically, it shows Anderson coming of age as a song-writer, providing good examples of his humour, individual phrasing and naturalistic lyrics. The next four Tull album are the ones which might be best described as "progressive": Thick As a Brick, A Passion Play, War Child are all closely related to one another, whilst the fourth, Minstrel In The Gallery, shows them leaning towards the folklore influenced work of the late 70s. Thick As A Brick is a 40 minute piece, broken in two by the LP side break. It is possibly their most popular album among Tullies, and sold very well when released in 1972. It is more interesting musically than the previous Tull albums, with a great structure which manages to be intellectually satisfying whilst losing none of the infectiousness of Aqualung. The follow-up to this was A Passion Play. It is basically in the same vein as Thick As A Brick, being a 40 minute piece along the same musical lines, though with a more diverse array of instruments, Anderson playing quite a lot of soprano and sopranino saxophone in addition to some of his best flute work. The music is slightly less accessible than that of Thick As A Brick and the mood more downbeat. When A Passion Play came out it was panned by previously friendly critics and sold badly compared to Thick As A Brick, showing a lamentable lack of insight on the part of critics and the average listener. However, for the progressive rock listener, both these albums are an excellent place to start. The next album, War Child, is also good. The instrumentation and music is similar to that used in A Passion Play, though it goes back to the shorter piece format of the earlier albums. Many of the tunes are relatively unmelodic compared to most classic Tull, with some very notable exceptions (such as "Skating Away On The Thin Ice Of The New Day"), but again the music as a whole is excellent, with some saxophone work which, while not virtuosic, adds greatly to the music. Minstrel In The Gallery is probably the most varied and interesting Tull album. The lyrics of songs such as Cold Wind to Valhalla and the title track create a medieval feel to the album. The arrangements feature strings very heavily - these are orchestrated by David Palmer, though people who've heard Symphonic Yes shouldn't be put off by this (:-), because they are very effectively used as a backdrop to Anderson's acoustic guitar. Almost every song contains intelligent musical development of themes, often switching seamlessly from acoustic gentleness to the full electric band to great effect. Possibly the best piece on the album is a 16 minute medley called "Baker Street Muse," which shows Jethro Tull at their best. Their next album is Too Old To Rock And Roll, Too Young to Die. It is similar in style to Minstrel In the Gallery, but the melodies are routine and the music is not developed within each song. It is one of the least original Tull albums, perhaps because it was initially conceived as a musical, and then produced as an album when the project fell through. The best tune, "Salamander" is in fact a rip-off of the excellent "Cold Wind To Valhalla" on Minstrel! The next three Tull albums - Songs From the Wood, Heavy Horses and Stormwatch - constitute another phase for Tull, though they share a lyrical and imagery content with parts of Minstrel In the Gallery. Songs From the Wood is one of the most accessible Tull albums. The lyrics are influenced by English and Celtic folklore, the album having been written soon after Anderson acquired a farm. The arrangements are superb, with some great flute-work, and though the songs generally contain less musical development than in Minstrel In The Gallery, the themes are still excellent and full of interest. Heavy Horses is one of the best Tull albums. It is slightly more downbeat than the playful Songs From the Wood, and the lyrics are less steeped in folklore, being more about present day concerns. The arrangements are the best Tull produced, with bass, flute and restrained electric guitar being used to great effect. The style is quite varied - the upbeat "Acres Wild," one of the only Tull songs to approach folk-rock; "Journeyman," with superb lyrics and a fine example of a sparse Tull arrangement; the off-the-wall, rythmically intriguing .".. And The Mouse Police Never Sleeps." Stormwatch is the third album in this phase. It has less to commend it than the other two. It goes back to the strong folklore influence of Songs From The Wood, with songs like "Dun Ringill" and "Dark Ages," but has not the originality of Songs From the Wood, and comes across as dull. It lacks either the melodic interest of the previous two albums or the musical development of the earlier Thick As A Brick phase alternately. Tull's next phase could be described as "electronic," though the three albums it consists of - "A", Broadsword And The Beast and Under Wraps - share little in the way of style. "A" is a reasonably good album, even though it managed to offend the sensibilities of many Tullies. Originally it was to be an Anderson solo album, but his record company forced him to release as a Tull album, resulting in a completely new lineup with the exception of guitarist Martin Barre. It is strongly coloured by the synthesiser work of Eddie Jobson (who also played the violin on it) and musically it is has a markedly different flavour to other Tull albums. The lyrics are excellent, many of them being concerned with the current news events at the time of writing circa 1980. The song "4 W.D. (Low Ratio)" is perhaps the funniest song that Anderson has ever penned. Broadsword And The Beast heavily features another synthesiser player, Peter Vettese, but goes back to a more typical Tull sound. It is perhaps the most "poppy" of any Tull albums (on tracks like "Hard Times") and though it has many of the good Tull traits, it lacks interest and whereas "A" truly gains from the inclusion of synthesisers, on this album they seem to be used in place of the excellent arrangements of the 70s, perhaps because the material is not strong enough to support interesting arrangements. Tellingly, the best track is perhaps "Watching Me, Watching You," which is a far cry from a typical Tull style, but uses the synthesisers to excellent effect. The third album in this phase is Under Wraps, again featuring Vettese on synthesisers. This is one of the most unpopular of Tull albums, with good reason, for there seems to be no musical development of material, the music relying more on disconnected synth and guitar "comments" on the theme. The melodies are weak and cannot hold your interest on their own. It does have its moments - "Under Wraps" Parts I and II are good, as are a few others, such as "Later That Same Evening." The album suffers from being too long - close to 60 minutes - and would have benefited from being cut down in size. Under Wraps was released in 1984. Since then, Anderson has suffered from a throat problem which has greatly reduced his singing range in recent years, though his flute playing is better than it's ever been. 1987-1991 saw the release of three more albums: Crest Of A Knave, Rock Island and Catfish Rising, none of which are worth much mention. Catfish Rising is a boring "back to basics" (i.e. bluesy in the Dire Straits sense of the word) album, and I haven't heard the other two. Tullies swear by Crest Of A Knave, but I think they're clutching at straws from what I hear about it, and nobody likes Rock Island. Of the live albums, compilations and rarity albums, the double CD Nightcap from 1993 deserves special mention. While the second CD is not of much interest, the first CD contains the "Chateau D'Isaster" tapes, from a recording session abandoned before going on to record A Passion Play. Some of the material ("Tiger Toon" and "Critique Oblique") was reworked and included in A Passion Play, providing an intriguing comparison. On War Child, "Solitaire" and "Skating Away On The Thin Ice Of The New Day" date - largely unchanged - from these sessions, "Only Solitaire" being represented on Nightcap by "Solitaire." To summarise, their best albums are Aqualung, Thick As A Brick, A Passion Play, War Child, Minstrel In The Gallery, Songs From The Wood and Heavy Horses. I'd recommend Minstrel... as being an excellent place to start, since it has the vital elements of all their best work. -- Phil Kime

Links






Biography

If there was one band whose entire discography could be the only music I'd be able to listen to for the rest of my life, Jethro Tull would be that band. Readers of these pages should most certainly be familiar with the group, as they are undoubtedly among the most commercially successful progressive rock groups, having garnered 11 gold and platinum albums, as well as consistenly touring across the world to the present day. In many ways, Tull was the most consistent group of the progressive era, releasing an album every year between 1968 and 1980, with six to seven of them remaining progressive rock classics. The record of commercial and artistic success over such an extended period would be matched by few, if any, of their contemporaries. Albums like Stand Up, Aqualung, A Passion Play, Living in the Past, Songs from the Wood, Heavy Horses, Minstrel in the Gallery and Thick as a Brick are cornerstones of any collection, with the latter being a good candidate for best progressive rock album of all time.

The group's remarkable consistency could be seen as a function of Ian Anderson's position within the group. As lyricist and main composer, Anderson was nearly always the focal point of the band. Although other members, like guitarist Martin Barre, and superstar drummer Barriemore Barlow, were often deemphasized in the eyes of fans and the media, the band environment was such that Tull was able to retain a definite stability. In their heyday, Tull were able to easily weather line-up changes, critical snubbing and touring catastrophes with nary a stumble, thanks in large part to Anderson's indomitable vision. Even after the band's streak of ingenuity ended (with 1980's disappointing A), and the musical quality itself began to suffer, Tull can at least be generally credited with remaining true to their original sound and vision, avoiding the same 80s pop/gunk pitfalls of bands like Genesis and Yes. They've even been able to occasionally emerge from the murky depths of seeming inconsequence with solid progressive rock albums throughout the last two decades.

The name Jethro Tull was first used by an aspiring blues rock band who were playing gigs outside of London using a different name every week. Jethro Tull happened to prove popular and ended up sticking. The band was dominated by the personalities of Anderson and Mick Abrahams, guitarist and blues purist, who wanted to keep the band firmly in the mold of traditionally based blues. In many ways, Anderson's flute and onstage antics were too unconventional, and often unwelcome, for the British blues audience at the time. A rift formed, and Abrahams eventually departed the group after their first album 1968's This Was to form Blodwyn Pig. After trying out several replacement guitarists (including Black Sabbath's Tony Iommi), the band finally settled on Martin Barre, who would go on to become a permanent fixture in the bands lineup.

With Anderson firmly in control, the band went on to produce the first of many classic albums, 1969's Stand Up. The band's combination of blues, folk and classical proved to be a unique amalgamation that would set the band on course for a future of commercial and critical accolades. The next album, Benefit, which was preceded by numerous one-stop singles to keep the band's name in the charts, would become their breakthrough album in the U.S., reaching #11 on the Billboard Charts, and spawning a series of American gigs. After shuffling lineups throughout this period, the band didn't miss a step, giving the world Aqualung in 1971. Taking on more serious lyrical tone, the band's incorporation of hard rock and prototypical progressive rock tendencies coalesced in one of the more notorious "concept" albums of the day. Aqualung would go on to become their most successful release, a huge commercial hit featuring tunes like the title track, "Cross Eyed Mary" and "Locomotive Breath", which remain a classic rock radio staples. The album reached #7 on the U.S. charts.

After touring for Aqualung, Bunker would depart, leaving an opening for drummer Barriemore Barlow, who would become another longtime fixture for the remainder of the decade. The band set to work on their most ambitious album yet. Thick as a Brick would be one extended piece divided over the two LP sides. The album is, in short, among the finest progressive rock recordings ever produced. Perfect in every sense, the band successfully combines folk, classical and sheer prog-rock pomp into bright, engaging and completely flawless blend. TAAB would go on to hit #1 on the U.S. charts, completely defying commercial conventions. Unfortunately, the band's critical accolades would end there, as the next album, 1972's A Passion Play, which was even denser and more obscure than the previous album, received a harsh response from reviewers, especially in the U.S. Still, commercial success was forthcoming, and the band completed a hugely successful world tour.

Perhaps in response to the criticism he had received as a result of A Passion Play, Ian returned to shorter lengths for the next album, War Child. The album doesn't entirely live up to the heights of the previous five, though commercially speaking Tull could do no wrong, and the album shot to #2 on the U.S. charts on the back of the catchy but flaccid "Bungle in the Jungle" single. The album would remain one of the few artistic missteps committed by Jethro Tull in the decade, as they would return 10 months later with Minstrel in the Gallery, another classic that emphasized the acoustic side of Tull's repertoire. The album was highlighted by the 17 minute "Baker St. Muse", which remains one of the finest pieces they've ever done.

The second misstep would occur with the next album, the lackluster Too Old to Rock n Roll, Too Young to Die, which is almost universally derided as one of the worst Tull albums of the time period. Originally beginning life as a concept/play put together by David Palmer and Anderson, they eventually decided the better of it and decided to make it an album. Still, it remains an anomaly in an otherwise brilliant decade. The band came back in 1977 with the classic Songs from The Wood. Although "progressive rock" was pretty much over, thanks to the onslaught of punk, disco and new wave, Jethro Tull were never better on a musical level. Songs from the Wood was heavily influenced by the folk rock of Steeleye Span, whose album Ian had produced, and began a new era in Tull's development. Though always intricate and complex, Tull piled on the sophisticated arrangements and folksy atmosphere, adding second keyboardist David Palmer as an official member to translate the compositions on stage. This was followed by another Tull essential, the excellent Heavy Horses, which retained the thematic continuity of Songs from the Wood, yet with a darker vibe. The albums stand as complementary to one another, and are among the most significant works of the band's career. These were followed by their first live album, Bursting Out, which effectively closes out an era of nearly unparalleled mastery. A third album in an intended "trilogy" that included Songs... and Heavy Horses was 1979's Stormwatch, the darkest of the three, yet a disappointment in light of the prior two stuio albums. Commercial success became harder to come by, and Stormwatch was the first album since This Was to not achieve Gold status.

In late 1979, the death of bassist John Glascock would shake the band to its core, and ultimately alter the course of its career. The band would enter into a new era of general inconsistency, though not motivated by commercial demands, the quality of the compositions, along with Ian's recurring voice and throat problems, would cause the band's output to suffer somewhat. In 1980, Ian sought to record a solo album with a completely different lineup, with the exception of Martin Barre, whose services he would retain. The solo lineup included former Fairport Convention bassist Dave Pegg, and former UK/Curved Air violinist Eddie Jobson. Unfortunately, someone decided that the album would be better released under the Tull name, despite having very little connection to the classic Tull sound. So, in effect, the entire classic lineup, including John Evans, Barriemore Barlow and David Palmer, were out in the cold. Coincidentally (or perhaps not), its here that Jethro Tull really begins to deviate from their consistently strong output. So its also at this point in the bands chronology that my interest in the band begins to falter, as the albums I've sampled from the subsequent time period have ranged from mediocre to just above average. Its not that they "sold out" or went pop either, just that they've simply failed to retain the same level of ingenuity.

After a number of so-so albums (including the horrendous Under Wraps in 1984), Tull won a controversial Grammy award in 1989 for Crest of a Knave. Famously, the Grammy was in the hard rock/metal category, and beat out Metallica's ...And Justice for All. Throughout the 80s and 90s, Jethro Tull has soldiered on, touring consistently and churning out an album every few years. It's clear that neither Ian or Martin Barre have let their passion for the music diminish at all over the years. Tull concerts are an annual event for me since I got into the band, and even with a few duds here and there, I can't think of another band with as many great albums as Jethro Tull. - Greg Northrup [September 2001]
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Stand Up (1969)

I haven't heard This Was, so this is my earliest Tull reference. A great album though. Alot of blues and folk stuff, the progressive material is not nearly as prevalent as it would be on later releases. The flute is (as always) very prominent, and it's melodies and textures add a beautiful, lilting quality throughout the album. There's a good balance between hard rock and gentle folk, within each song the balance shifts effortlessly. Not one of my absolute favorite Tull albums, but an excellent buy. - Greg Northrup [2000]

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Benefit (1970)

Very much in the vein of Stand Up, and in my opinion just as good. The songs on these albums, as compared to their later work, are much more subdued with less aggressive folkiness. The band sounds very bluesy on this release as well. Both Stand Up and Benefit are blues based, which is a nice contrast to their later (and to me, preferable) classically constructed stuff like Thick As A Brick or A Passion Play. The melodies are nice and laid back. This is a cool album to relax to, but the real complexity and "progressive" mentality is yet to come. Still, an excellent album and a good buy. - Greg Northrup [2000]
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Aqualung (1971)

About half this album is gentle acoustic stuff, which is great, and the other half are really great hard rock songs, also excellent. A change in direction from Benefit in that this is a "concept album" so to speak, and the band have taken on a more progressive musical and lyrical outlook. A great album, but still not up to par with their later work. Even though this is more progressive than Benefit, I don't find it any better. Again, I have to go with excellent album and good buy, but they've released some better stuff to, so get it later on. - Greg Northrup [2000]

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Living In The Past (1972)

This is an excellent compilation of singles or otherwise unreleased tracks that were recorded over the years prior to this album. This was compiled after the release of Thick as a Brick but harkens back to their earlier days. The songs here are phenomenal, and this compilation actually makes for one of Jethro Tull's finest ever releases. There are a number of classic tracks here. Perhaps most impressive is an extended remake of the short track "Wond'ring Aloud" from the Aqualung album. Here it's entitled "Wond'ring Again" and it is totally phenomenal and beautiful. Highly emotive lamenting lyrics and sweeping melodies that recall but drastically improve on the first song. One of the all-time great Tull tracks. Other highlights include the rocking "Dr. Bogenbroom" an electrified and mind-blowing live version of "Dharma For One" and the classic "Witch's Promise". This is fundamental Tull. - Greg Northrup [2000]

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Thick as a Brick (1972)

The monster! This album is probably the album that got me into progressive rock. After hearing Genesis, I got my hands on this, and I knew there was no turning back. This is a total masterpiece, in my opinion the single greatest song I have ever heard. The album is written as one 40 some minute song divided into two parts (remember LPs? Well, I don't, but I think they had two sides). Yes it's overblown, yes it's pretentious, but goddamn it is so brilliant! The melodies are wonderful, bright and aggressively catchy, and there is so much going on in the song that it is impossible to get bored. Even though Tull may be considered a hard rock band or blues rock band by some, this is true blue progressive rock at itss finest.

The lyrics are basically impossible to make heads or tails of, but they sound so poetic and the imagery is so great that it makes up for it. The only part of the album I don't like is the first five or so minutes of the second part. It's basically nonsense random sounds - filler, I guess. But the rest of the second track goes on to rock even better than the first, so that is made up for. All in all, this is probably my favorite Tull album, although it's a toss up between this and Heavy Horses or Minstrel in the Gallery. Buy at once. This is one of the greatest albums in rock history. - Greg Northrup [2000]

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A Passion Play (1973)

As the follow-up to the seminal Thick as a Brick, this album obviously had big shoes to fill. Thick as a Brick was one of the few albums that managed to make uncompromising progressive rock totally accessible, and ended up being one of Tull's biggest hits. A Passion Play, on the other hand, is much more difficult to get into. This album took the progressive tendencies to a whole new level, and as a result garnered heaps of criticism from both fans and the media for being pretentious and overblown. However, keep in mind that most of the great progressive rock albums have attracted similar criticism, and really, A Passion Play fits right in there with other albums that have been similarly vilified, such as Yes' Close to the Edge or Genesis' The Lamb...

Don't expect another Thick as a Brick. While seemingly similar in that both albums are lengthy conceptual pieces, A Passion Play is much less catchy and more oblique and esoteric than its predecessor. Still, this is another totally flawless album from Jethro Tull, it just takes a little more effort to get into. The emphasis on the "artsy" elements, such as the varied instrumentation, the impossibly obscure story line as well as increased complexity on every musical front probably makes this Tull's most overtly "progressive" album. Another classic from the Tull discography. - Greg Northrup [2000]
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War Child (1974)

One of only two less than spectacular albums released in the decade by Jethro Tull (the other being To Old to Rock n Roll...), Warchild is still a pretty good album with some nice moments. This was released after A Passion Play got roundly bashed by music critics, and as a resulting record is a big step down in comparison to that album. It features a return to shorter catchier songs, while sacrificing much of the vision and complexity of their previous two albums.

I've read that most of this stuff was written during the original sessions for A Passion Play, but Ian was unsatisfied with it, so little of that music made it onto the album. A lot of these songs sound like A Passion Play rejects, or bits of songs that were extended into full songs with typical verse-chorus-verse structuring. Perhaps as a statement to his critics, Anderson included the inane pop single "Bungle in the Jungle", which is pretty boring and stupid. There are some highlights here, including the great "Skating Away of the Thin Ice of a New Day", another really catchy song, but one that features a beautiful development around its main theme.

The album also features some extensive use of orchestration, which would eventually be used to great success on later albums like Minstrel in the Gallery and Heavy Horses. This effect is used nicely on the opening title track, and another one of the nicer tracks, "Queen and Country". There are definitely some moments of beautiful complexity here, but as a whole this album lacks the substance and power of other Tull works, don't make it a priority. - Greg Northrup [2000]
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Minstrel in the Gallery (1975)

Another simply amazing album. This one is characteristic in that it features a sort of simplification as far as instrumentation goes. There is a heavy emphasis on acoustic guitar, which dominates most of the album. Usually the music will shift from beautiful acoustic sections into occasional hard rock type areas. The whole album is colored by David Palmer's tasteful orchestration, and the sound of the violins backing the gentle acoustic guitars and Ian Anderson's highly personal lyrics is a wonderful experience.

Every song on here is solid. There seems to be some sort of a concept, judging from the title as well as the approach of the music. Ian Anderson takes on the role of a medieval minstrel, appropriately accompanied solely by a singular guitar. The lyrics supposedly chronicle Ian's breakup with his wife at the time, and thus take on a rather melancholy air. As I said, the sweeping orchestra in the background tremendously effective, and adds a morose, romantic air to the album. These sections, counterbalanced by the more complex and heavy passages, during which the whole band joins in, combine to great an extremely moving musical experience. The album is basically flawless from front to back, though the centerpiece, 17 minute suite "Baker St. Muse" is one of the single strongest tracks Tull has ever recorded. One of my favorite albums ever. - Greg Northrup [2000]
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Songs From the Wood (1977)

This is another great Tull album, and one of the most accessible ones at that. This album is highly enjoyable right upon first listen, and creates such a tremendous atmosphere, that I find this almost totally impossible to dislike. Really, not a weak track on the whole disc. The album is also the first of a musical trilogy chronicling the increasing urbanization of man, and lamenting the loss of our closeness to nature. This album, and its companion pieces, Heavy Horses and Stormwatch show a gradual shift in mood, from bright to dark.

Songs from the Wood shows what Ian Anderson seems to feel is man in his ideal state. The whole album has a breezy, upbeat and "happy" feel, full of lilting flute and active keyboards, accompanied by hard hitting, powerful and complex rhythms from the guitar, bass and drums. Very heavy folk influence throughout, with moving melodies that still manage to rock.

The beautiful thing about this album is that Tull has created a record that is highly accessible, catchy and celebratory, while still being extremely progressive and complex. In this sense, I think it's the only Tull album next to Thick as a Brick to achieve this paradox. Songs like "Cup of Wonder", "Hunting Girl" and "The Whistler" just beg to be cranked up. Meanwhile the intricate "Velvet Green" and the melancholy "Pibroch (Cap In Hand)" show off a more subdued and magical side. This is definitely in the upper echelon of Tull albums, and a wonderful place to start. - Greg Northrup [2000]
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Heavy Horses (1975)

Though not as immediate as Songs From The Wood, I slightly favor Heavy Horses over it's predecessor. The overall tone is dark, and it definitely takes awhile to get into, but ultimately this is a powerful, intricate and deeply moving piece of work, from front to back. At times I feel this to be my absolute favorite Jethro Tull album. There is rarely a time on the entire album where two band members are playing the same riff or melody. There is constant variation and depth to every second of the album, not to mention the instrumental virtuosity and Ian's emotional vocals

This is a semi-concept album, much in the same way that Songs From The Wood was, in that it deals almost exclusively with the joys and sorrows of rural life. The lyrics and music has a whimsical, country air to them. Together with the lyrics and album artwork, the entire event has the atmosphere of a cold autumn evening in the English countryside, with the music and vocals emitting a glowing warmth.

The tracks are all for the most part flawless. "Moths" is a landmark among Tull songs, definitely one of the all time best, totally beautiful orchestration and some of the greatest lyrics Ian has ever penned. The band plays off the same simple melody throughout the piece, yet by the end it becomes a shimmering example of impossibly beautiful prog. "Acres Wild" is one of the most simply romantic songs ever written, with an honesty far deeper than your typical rock or pop "love song". "Rover" is yet another track that digs deeper with each passing listen, too complex to comprehend on first listen, you'll find the various melodies swimming in your head long afterwards. Finally, the epic title track, an epitome of everything the album represents. Another one of Tull's all-time best. Hardcore Tull fans, for the most part, all recognize the greatness of the album. Unfortunately, as far as radio representation, or in the minds of casual fans, this album is widely overlooked. Could be the finest Tull album ever made. - Greg Northrup [2000]
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Stormwatch (1979)

A good album from Jethro Tull, but unfortunately one that would mark the end of an era. After this album Ian would revamp the face of the band, and classic Tull mainstays like Barriemore Barlow, John Evan and David Palmer would exit, not to mention the tragic death of bassist John Glascock, who died after complications with open heart surgery.

This is a very dark album that winds up the folk trilogy that also included the classics Songs From The Wood and Heavy Horses. That said, its also the least interesting of the three. Overall, it chronicles sort of an apocalyptic demise for mankind, after out modernization and technology has gotten the best of us. This is definitely a far cry from the celebratory hymns of Songs From The Wood. There are some great songs on here, "Orion" features more tasteful orchestration and "Dark Ages" is one of the heaviest Tull songs ever. The rest of the songs are all good, but certainly don't improve on anything from the previous two albums, though they are written in the same style. Not necessarily uninspired, just a little limp at points. Still, this is a worthwhile album that has a nice, dark atmosphere, but is definitely overshadowed by the brilliance of the previous two albums. - Greg Northrup [2000]






W. S. Gumby's Album Reviews


This Was
This is the very first Jethro Tull album released way back in 1968. This Was is an appropriate title for this album because not long after its release Tull was a very different band. It is an eccentric, jazzy blues album that still sounds fresh today. It just doesn't sound like what we've come to think of as "Tull Music". The most obvious reason for this-this is the only Jethro Tull album that doesn't feature the guitar work of Martin Barre. Mick Abrahams plays lead here and he shapes the sound of this album almost as much as Ian Anderson, even contributing vocals on a couple of tracks (Abrahams left later that year and went on to form Blodwyn Pig). Although this is a blues album it is a slightly peculiar one, the flute is not known as a blues instrument. The roots of Ian's flute style can be heard on Serenade To A Cuckoo, a tune written by jazz legend Roland Kirk (Ian borrowed Kirk's breathy, hum-as-you-blow flute technique). He also plays harmonica and adopts some rather odd vocal intonations throughout. Mick really shines on the traditional blues instrumental Cat's Squirrel. All in all a thoroughly entertaining relic from the '60s British blues scene, but as it says in the liner notes "This is how we were playing then - but things change. Don't they."


Stand Up
To me, Stand Up is the first real Jethro Tull album. Ian Anderson is firmly in control of the proceedings with Martin Barre by his side on lead guitar. The "Tull Sound" (quirky rhythms, soft acoustic to near-metal dynamics and unique melodies) emerges here. The first three cuts indicate that this is a much more musically diverse outing than its predecessor. A New Day Yesterday is still rooted in the blues but it has a harder, more rock feel than anything on This Was. Jeffrey Goes To Leicester Square switches gears with it's quieter, folky, melodic sound. Bouree heads in another direction-a sort of classical-jazz fusion. Before we've reached track 4 it is clear that Tull have made the transition from blues band to progressive rock band. The whole album is wonderful. The gentle Reasons For Waiting with its beautiful string arrangement, the offbeat Arabian blues of Fatman, Martin's intense guitar work on We Used To Know, Clive Bunker's ferocious drumming on For A Thousand Mothers, it all adds up to a classic.


Benefit
Benefit is a very good album. Musically, its more sophisticated than Stand Up, but it doesn't seem as fresh or original as its predecessor. John Evan joins the band on piano and organ and helps flesh out Ian's increasingly complex musical ideas. Things start off strong with With You There To Help Me , one of the few tunes from this album that the band occasionally still play live. The backwards flute part on this song gives it a sort of psychedelic flavor. Psychedelic touches can be heard on a couple of other tracks on the album (A Time For Everything and Play In Time) and except for their unfortunate exploration of synth rock in the early eighties this is the only instance of Tull being overtly trendy. Other stand out tracks are To Cry You A Song a hard rock tune with a catchy riff and Sossity, You're A Women, one of Ian's most beautiful ballads. The U.S. version of the album includes Teacher, released only as a single in Britain. The British version includes the cut Alive And Well And Living In, a tune Americans can hear on Living In The Past.


Aqualung
If you're familiar with Jethro Tull at all you're probably familiar with this album and you don't need me to tell you what it's about or how good it is. This was their breakthrough album and it is still a staple of classic rock radio stations. Long time fans may claim they're tired of this album but they will admit it's one of the group's best. The blend of hard rock and soft acoustic music works perfectly here. John Evan's keyboard work is outstanding, particularly on Locomotive Breath and Wind Up. Be very careful if you are buying a used copy of the CD. Early US releases of the album were terrible (tape hiss was nearly as loud as the music and the beginning of Aqualung and the end of Wind Up were cut). If you can afford it, the DCC gold disc is the best sounding version of the CD available. Whatever version you get the album is an essential part of anyone's collection.


Thick As A Brick
Thick As A Brick is my favorite Tull album. This is the one that convinced me that something very special was happening here (part of this may be because I saw them live for the first time the year the album was released). Many people thought Aqualung was a concept album. Ian didn't think so but he thought "if they want a concept album I'll give them one". This album is one 45 minute song. With it's intentionally pompous and cryptic lyrics (supposedly written by a precocious seven year old) and it's very silly packaging, Thick As A Brick is sort of a parody of concept albums. It is also one of the most musically adventurous rock albums ever produced. It's intricate melodies weave through the album in a kind of theme and variations thing. But don't get the idea that this is a pretentious bore, Ian hasn't forgotten that rock music is supposed to be fun. Clever, funny and just plain brilliant this album belongs up there with Bob Dylan's Blonde On Blonde and the Beatles Sgt. Pepper's Lonely Hearts Club Band, on the short list of the most important rock albums of all time. What?! You don't have this in your collection! Buy it now!


Living In The Past
This is Jethro Tull's first collection of miscellaneous rare tracks (two more were to follow in the years to come-the 20 Years Of Jethro Tull boxed set and Nightcap) and it's a very nice collection. I'm knocking off an Ian from the Gumby rating for including previously released album tracks and for the rather poor choice of live tracks. The live tracks come from a 1970 Carnegie Hall benefit concert, that, minus the two tracks included here, can be heard on the 25th Anniversary Boxed Set. The two tracks on this collection are basically a piano solo from John Evan and a drum solo from Clive Bunker. These long solos were hip in 1970 but today they are just plain boring. As for the previously released album tracks, there is one track from each of Tull's first four releases included, I guess, for chronological reference (Bouree and Teacher-an album track in the US -were omitted from the original US version of the CD, but are included on the Mobile Fidelity gold version along with Locomotive breath-the version to get if you've got the wonga!). Oh well, it's hard to be critical of the rest of the album. Love Story, A Christmas Song, the title track, Sweet Dream, Singing All Day, The Witch's Promise, Just Trying To Be, Wond'ring Again, Life's A Long Song, Up The Pool, Dr. Bogunbroom and Nursie are all classics and should be a part of anyone's Jethro Tull collection.


A Passion Play
A Passion Play is the masterful follow up album to Thick As A Brick and it too is a concept album. Ian is taking things a little more seriously this time out. There is more of a coherent story than on Brick, telling the tale of one Ronnie Pilgrim's death and judgment, his visit to heaven and hell and his rebirth (ACT I Ronnie Pilgrim's Funeral: a winter's morning in the cemetery; ACT II The Memory Bank: a small but comfortable theatre with a cinema screen-the next morning; Interval; ACT III The business offices of G. Oddie and son-two days later; ACT IV Magus Perde's drawing room at midnight). Although presented as one long song, the album is really a series of loosely strung together set pieces. On Brick it was the music that made the album feel like a single work, on A Passion Play it's the story that ties things together. There are some interesting additions to the Tull sound here, John Evan plays synthesizer along with his piano and organ and Ian plays soprano sax. Ian's sax sound is completely unique and helps give A Passion Play it's distinctive sound. The instrument shows up on WarChild and, unfortunately, hasn't been heard again. This album also features Jeffrey Hammond-Hammond's finest moment, the interval between the second and third act of the "play" entitled The Hare Who Lost His Spectacles and it's a truly odd, satirical and whimsically British piece with a simple message: look to yourself for answers. I recommend getting the 25th Anniversary video to see the film version of the Hare that was played at the Passion Play shows way back in 1973. A Passion Play is another must-have. Get the Mobile Fidelity gold disc if you can afford it, it sounds sooo good.


WarChild
This album is better than it has any right to be. It was pieced together from an aborted film project, the abandoned double album that was going to be the follow up to Thick As A Brick and a rewritten Aqualung out take. Obviously this is not a concept album but rather a collection of songs, although it starts out like a concept album with two songs about war and patriotism (WarChild and For Queen And Country). The album then veers off onto another concept (ladies of questionable repute-Ladies and Back Door Angels) and then heads off in other directions. The sound is very similar to A Passion Play with Ian playing soprano sax. The highlights here are Skating Away On The Thin Ice Of A New Day and Only Solitaire both songs from the Chateau D'issaster Tapes. The worst song on the album, Bungle In The Jungle, was released as a single and actually got quite a bit of airplay on top-forty radio. Not bad, but a disappointment, when you consider it is the follow up album to three masterpieces.


Minstrel In The Gallery
Some Tull albums take a while to warm up to. I didn't like this album at all at first. It was too down beat, too introspective. After a few listens I loved it. I now consider it to be one of their best. Each Jethro Tull album has a distinct, individual personality and it is a good idea to give them a few listens and get to know them before deciding what you think about them. Minstrel is definitely worth getting to know. The album is quieter than most Tull albums, the dominant sounds here are Ian's acoustic guitar and David Palmer's beautiful string arrangements, but some of Martin Barre's finest work can be heard on the title tune and the erotically charged Black Satin Dancer. The highlight of the album is the song suite Baker Street Muse, which has Ian once again observing the seamy side of London (Ian cries "I can't get out" at the end of the piece), but there isn't a weak cut here. The album was produced at a very painful point in Ian's life (the breakup of his first marriage) and, like Bob Dylan's Blood On The Tracks - also from 1975, it proves great art can come from trying times.


Too Old To Rock 'N' Roll, Too Young to Die
As I said, some albums take a while to warm up to and some never seem to get all that warm. This one remains pretty tepid. Like WarChild this music was originally intended for another medium-this time musical theater. Once again the original project never came together and Ian took what he had and turned it into an album. There is some sort of story here but you would never figure it out by just listening to the album, the packaging includes a comic strip (scaled down from LP size to fit in the CD sleeve, which means it's nearly impossible to read) that tells the story of Ray Lomas, the old rocker. It's not much of a story. The album starts off nicely with two strong cuts and one masterpiece (Salamander). Unfortunately it's all down hill from there. Taxi Grab is a fairly standard blues based rocker. This is followed by two songs that grind things to a halt. From A Dead Beat To An Old Greaser and Badeyed And Loveless are unforgivably dull. Big Dipper is another standard rocker and the title track has never exactly been my favorite Tull tune. Things pick up a bit with the last two cuts but it's too little too late. If you are new to Tull this should not be one of your first purchases.


Songs From The Wood
Now this is more like it. Songs From The Wood is one of the very best Tull albums. The title tune is a sort of statement of intent-"Let me bring you songs from the wood...with kitchen prose and gutter rhymes", and that is what we are given, songs about the myths and earthly pleasures of the English woodlands. The Celtic imagery in the lyrics, Celtic musical touches and David Palmer's portative pipe organ give the album a timeless quality. The highlights (well, every cut is a highlight really) are Hunting Girl, a song about a close encounter of the slightly kinky kind with odd but still rocking rhythms, and the kinder, gentler erotic musings of Velvet Green. Martin Barre's guitar sounds like highland pipes on the hauntingly sad Pibroch (Cap In Hand) and Ian kicks out the jams on tin whistle on the Celtic rave up The Whistler. The album closes with one of Ian's most beautiful songs, a tune about domestic bliss, Fires At Midnight. A totally satisfying album. I recommend buying this right after (or at the same time) you buy Thick As A Brick and A Passion Play.


Heavy Horses
This is another really good album. I've knocked off an Ian from the Gumby rating because this album is so similar in sound and feel to it's predecessor (OK, since Songs From The Wood is a bloody masterpiece this isn't exactly a bad thing, it's just that most Tull albums have a unique personality) and I just don't care much for Journeyman. These reservations aside, I have nothing but praise for this album. The title tune is an epic about large work horses that are no longer needed and it's a brilliant piece. ...And The Mouse Police Never Sleeps is a whimsical song about a cat on the hunt and is one of Ian's cleverest works. The albums highlights are two of it's quieter moments, the stunningly beautiful Moths and the touching One Brown Mouse. The lyrics of these two songs could stand alone as poetry, but we wouldn't want to be deprived of their lovely melodies. Great stuff.


Bursting Out
Bursting Out was Jethro Tull's first live album and is a good representation of the late seventies line-up (Ian Anderson, Martin Barre, Barrie Barlowe, John Evans, John Glassclock and David Palmer). At the time of it's release I was disappointed that the 2nd movement of Beethoven's Ninth (which was played on the Songs from the Wood tour) wasn't included, but I've almost gotten over that. What is included adds up to classic, essential Tull. A New Day Yesterday with Ian's flute solo is surprising and funny. This version of Thick as a Brick is the definitive edited live version. Sweet Dream, Minstrel in the Gallery, Hunting Girl, Cross=eyed Mary, Aqualung and Locomotive Breath/Dam Buster's March all kick gluteus maximus. The acoustic set of Skating Away, Jack in the Green and One Brown Mouse is just wonderful. My only major complaint (apart from the Beethoven thing) are the moments when Ian is censored with a loud, extremely annoying bleep. What Ian actually says couldn't possibly be as offensive as these sounds. The US CD version of the album has been edited down to fit one CD losing a couple songs (including Sweet Dream, one of the best things on the album) and some of Ian's entertaining stage banter. I suggest getting the UK double CD version if you can.


StormWatch
StormWatch is the last album by the classic late 70's lineup of Ian Anderson, Martin Barre, Barrie Barlowe, John Evans, David Palmer and John Glassclock (who only appears on three tracks here due to the illness that would soon take his life). Though musically it resembles its two predecessors, this is a downbeat, very sad album full of images of Sunday night killers in gray raincoats, lonely bus stops, old dogs in pain and diggers digging their shallow grave. Home, a song about coming home after a long journey feels like it's about the yearning for home rather than a happy homecoming. On Dark Ages Ian asks us if we're ready for the long winter's fall and apparently he means a long winter indeed because on the album's most up tempo rocker, Something on the Move, he warns us of a coming Ice Age. The album's highlight is another one of Ian Anderson's brilliant acoustic gems, Dun Ringill, a song about a prehistoric fort on the Isle of Skye that can make you feel the mystery and wonder of ancient Britain. Flying Dutchman is a song about the Vietnamese boat people. Refugees that no one wanted. Condemned to sail the seas eternally like the Flying Dutchman of legend ":floating out to sea, in a misty misery." The beautiful, sad instrumental Elegy brings things to a fitting close. This is not exactly a cheerful album, but it is a good one. I have to be in the right mood to play this one but when I do I listen to Ian singing about death grinning like a scarecrow and I think about John Glasscock and even if its July, I think about the long winter to come.


A
I'll have to admit that I may dislike this album for reasons other than the music itself. This album was originally intended to be an Ian Anderson solo album (A for Anderson) but the record company decided it would probably sell better if it was a Jethro Tull release. Suddenly the musicians who played on the record became Jethro Tull and John Evans and David Palmer were out of the group (bassist John Glasscock had passed away the year before and Barrie Barlow had quit after the StormWatch tour). I was very upset that the band I had come to love had, almost overnight, became something very different. It's hard to ignore those feelings and be objective about A. It is not surprising that this album has a different sound than it's predecessors, it was virtually a whole new band. Eddie Jobson used synthesizers to a much greater degree than John Evans and David Palmer and his synths dominate the sound of this album. Mr. Jobson also plays violin on the album and I would have liked to hear more of the violin and less of the synths. My favorite track is an instrumental that reflects Dave Pegg's influence (Tull's new bass player was, and still is, a long time member of the British folk-rock group Fairport Convention) , a Celtic rock tune called The Pine Marten's Jig. There are some other good songs here, I'd single out Fylingdale Flyer and Black Sunday. Some Tull fans love this album, but I don't know how they can stomach 4.W.D. (Low Ratio)-a song that is definitely in the running for worst Tull song of all time.


Broadsword And The Beast
Broadsword and the Beast is a very nice collection of Tull songs. The band used an outside producer on this album (Paul Samwell-Smith) and it does have a very slick, commercial sound. Peter-John Vettese plays keyboards here, but doesn't dominate the sound like he will on Under Wraps (although his influence can be heard on the albums weakest cut Watching You, Watching Me-shades of things to come). In spite of the slick production and the occasional annoying synthesizer this is a good, solid four star Tull album. The band manages to blend their folky sound in with the modern production. There are some very good songs here. The Clasp has Ian observing how people are increasingly becoming isolated from each other (a theme he'll explore again on Rock Island). Flying Colours is a rare glimpse into Ian's personal life, a song about his occasional fights with the Mrs. Slow Marching Band is a beautiful song about the loss of a loved one. Pussy Willow may be the best tune on the album. It's a song about a woman whose everyday life doesn't quite measure up to her dreams. The album ends with an all too short song saying goodbye-Cheerio (it's kind of corny but the tune is so beautiful you don't really care). There were quite a few very good songs that were left off of this album. Ian considered making this a two record set. Those songs can be heard on the 20 Years of Tull box set and the Nightcap collection. Why Jack-A-Lynn and Jack Frost and the Hooded Crow, two Tull masterpieces, were left off is a major Tull mystery.

Walk Into Light
This is not a Jethro Tull album but rather an Ian Anderson solo album and it certainly isn't what most people would expect from such a project. One would expect Ian to go into a studio with his acoustic guitar and flute and record an album of tunes like Only Solitaire and Salamander. No such luck. This is actually a collaboration with then Tull keyboard kid Peter-John Vettese and features the synthesizers, drum machines and sparse repetitive melodies of early eighties synth-rock. For the most part I find this album mind numbingly boring. Three tracks do rise above the general tedium-Made in England, Looking For Eden and Different Germany actually have interesting melodies and lyrics. Unfortunately Ian didn't get the synth-rock thing out of his system on this release. The next Tull album , generally considered to be their worst, is in the same style.

Under Wraps
On the next Tull project Ian Anderson decided to continue to experiment with the synth-rock sound he had been playing around with on his solo album. Under Wraps, as mentioned above, is generally considered to be the worst Tull album and I agree with that assessment. In the past, Tull's drummers (especially Clive Bunker and Barrie Barlowe) had given Tull a very creative, very human drum sound. Here that is replaced with a drum machine giving the proceedings a sterile, machine like feel. Add to that Peter Vettese's extremely annoying synthesizer sound and you have an album that is extremely hard to get into, which is a shame because there are some good songs here. Later that Same Evening, Heat and the title tune are quite good. The highlight of the album is the acoustic version of the title tune-it stands out like an island of wooden music in a sea of synths. The four bonus tracks added to the CD version are not only the worst songs on the album but perhaps the worst songs of Ian Anderson's career. The original LP version was a much better album.

Crest Of A Knave
At the time of it's release Crest of a Knave was regarded as a welcome return to form for Tull. The album was quite popular, actually got played on the radio and somehow managed to win a Grammy for best hard rock/heavy metal album. In retrospect, although it is a very good album, it does seem that Ian was playing it safe with radio friendly AOR rock and not really stretching too far creatively. It was understandable under the circumstances. Ian suffered major throat problems during the Under Wraps tour and was forced to take some time off. It was three years after the poorly received Under Wraps and Ian felt pressured to come up with an album that, at least by the standards of Tull, was bit more commercial, and he succeeded. I don't mean to sound too negative, this is good, solid Tull music. Ian's newfound vocal limitations are in evidence here. He is singing in a lower register here but that is something I quickly got used too. There is one stand out track here and it really stands out. Budapest is a Tull classic. Ian takes a simple idea, lusting after a beautiful young woman in a foreign city, and turns it into a ten minute epic. Ric Sanders from Fairport Convention adds to the Hungarian flavor with his evocative violin. Farm on the Freeway, Jump Start, Said She was a Dancer and Mountain Men are good songs too. Even the CD bonus tracks are pretty good. Some Tull fans complain about the vocals on The Waking Edge but I think the sleepy quality in Ian's voice perfectly matches the mood of the song. The only really weak cut comes at the end. Raising Steam is a rather bland, generic rocker that Ian could write in his sleep. All in all a good album but I'm still bothered by something. It just seems that on this one Ian is trying too hard to please his audience rather than to please himself.

20 years of Jethro Tull
Most box sets are glorified greatest hits packages with a few rarities thrown in so fans will buy it. This box set turns that standard on it's head. At the time of it's release only ten of the set's 62 tracks could be found on other CDs. The set consists mostly of rare singles, B sides, outakes and live radio and concert performances. As to be expected with this type of collection, some of the cuts are better than others. The best stuff here is quite good indeed. The Broadsword outtakes Jack-A-Lynn and Jack Frost and the Hooded Crow, Part of the Machine (recorded for this collection), The Chateau D'isaster Tapes (from the "lost album" between Brick and A Passion Play, more of which would later appear on Nightcap) and the '87 live version of Living in the Past are some of my favorite tracks. This set was originally configured for 5 LPs and things got slightly screwed up when it was released on 3 CDs. For instance The Other Sides of Tull, the LP of quieter Tull tunes were split up, part of it is on the 2nd CD and part of it is on the third. All in all this is well worth getting if you can find it (the Columbia House record club has it). There is also a condensed, single CD version that is better than nothing.


Rock Island
Half of this album is great. Unfortunately, the other half consists of songs like Raising Steam from Crest of a Knave-rather bland generic rockers that Ian could write in his sleep. Actually the ratio of good to bad is 6 to 4. Not too bad I guess. The good songs here are very good indeed. Things get started with a fun rocker that has a rather naughty double meaning-Kissing Willie. I enjoy this song but some find it deeply offensive. This sort of bawdiness has always been a part of the Tull repertoire-Pig Me and the Whore, The Pied Piper, Hunting Girl etc. It's part of what makes Tull Tull. The next good track, Ears of Tin and the last cut on the album, Strange Avenues, are the album's masterpieces. Jethro Tull doesn't get much better than this. The title track is another good one. I like the way it's themes are carried on in Strange Avenues, giving the illusion that the album isn't as disjointed as it is. Another Christmas Song is a very nice tune about the importance of family. The Whaler's Dues is another pretty good song, if slightly heavy-handed. If the other four songs were as good as these six this could have been one of Tull's best. Oh well.


Catfish Rising
Catfish Rising is a fun album, not a masterpiece but very entertaining. Ian sort of gets back to his roots on this one, resurrecting the blues. The album is full of mandolin powered, whimsical blues tunes. There is only one rather bland generic rocker that Ian could write in his sleep-Doctor to My Disease. The other song that probably could have been left off the album is White Innocence. It's keyboard based sound seems out of place with the rest of the album and it's theme of Ian lusting after a sweet young thing has been done better elsewhere. As David Spade might say-I liked it better when it was called Budapest. Those quibbles aside the rest of the album is just fine. Ian's voice sounds better here than it did on the previous two albums. His singing has a newfound confidence and expressiveness. As I said, this is a fun album. Roll Your Own is not about what the title immediately suggests but would probably still upset your mother. Let's just say it's about how to enjoy oneself when one is alone. Tall Thin Girl is a song about drummer Doane Perry's infatuation with a waitress in an Indian restaurant. Musically, it's a sort of sequel to Fatman. Thinking Around Corners is one of the strangest, most surreal songs Ian Anderson has ever written. These songs among others, give the album a light, good natured quality that I find refreshing. There are some serious moments as well. Still Loving You Tonight, one of the album's highlights, takes the blues seriously indeed. Rocks on the Road, already a Tull classic, is a song about the trials and tribulations of life on the road (Ian insists it's about a traveling salesman, not a rock star). Although not perfect, the album has it's own unique, highly enjoyable identity.

A Little Light Music
This almost, but not quite, Jethro Tull unplugged. A few of these tunes have the familiar decidedly electric, amped to the max sound, but most of the tunes on this live album show the quieter, more intimate side of Tull. The album was recorded in '92 in small venues at various locations in Europe and the Middle East with Tull as a stripped down four piece band (Ian, Martin, Dave Pegg on bass and Dave Mattacks on drums). Rarely played acoustic songs such as Life Is A Long Song, Nursie, One White Duck, A Christmas Song and From A Dead Beat To An Old Greaser dominate the album. Some very familiar tunes appear here in unfamiliar arrangements. It's rather strange to hear Locomotive Breath without its piano intro. This version of Living In The Past is an instrumental that just cooks-amazing flute from Ian. Too Old To Rock 'N' Roll, Too Young To Die is presented in what Ian calls the reggae version (it's not exactly Bob Marley, but some sort of Carribean thing is happening). The highlight is perhaps the best version of Bouree ever recorded. It includes Martin and Peggy playing Bach's Double Violin Concerto and they kick Baroque butt! The album also includes the traditional tune John Barleycorn which cannot be heard anywhere else. If you like Jethro Tull because "they ROCK man", this album probably isn't for you, but if you like their softer side you should find it quite enjoyable.


25th Anniversary Boxed Set
The 25th Anniversary box is really four separate albums put together in a very nice package. The first CD is called Remixed Classic Songs and it is the least interesting of the four albums. Engineer Robin Black and producer Ian Taylor took sixteen classic Tull tracks and remixed them to give them a different sound. Some are very different (Songs From The Wood), a few are greatly improved (Cross=eyed Mary), but most of the songs just sound a bit different, making this only slightly more interesting than the average greatest hits collection. The second CD is the highlight of the set. Carnegie Hall, N.Y. Recorded Live New York City 1970 is almost an entire concert (the missing music can be heard on Living In The Past). The sound is quite good, much better than boots from the period, and the performance is wonderful. My favorite tracks are My God complete with Ian's weird and wacky flute solo, the beautiful Sossity/Reasons For Waiting medley and Martin's amazing, fiery guitar solo between We Used To Know and For A Thousand Mothers. The third disc is called The Beacons Bottom Tapes and consists of rerecorded versions of some classic songs as Ian says in the notes "...not to redefine, but merely to up-date the performances of some of our favorite pieces". I think it's nice to hear these newer versions of old tunes without the intrusion of an audience. The best tracks are Martin's instrumental versions of The Whistler and Protect And Survive, an epic arrangement of A New Day Yesterday and once again, My God, this time with a very jazzy God Rest Ye Merry, Gentlemen in the middle. The last disc is called Pot Pourri, Live Across The World & Through The Years and features, you guessed it, live tracks from 1969 to 1992. My only complaint is that 8 out of the 15 tracks are from the nineties. I like the nineties stuff but I would like to hear more from earlier days. The Passion Play extract from '75 and Wind-Up/Locomotive Breath/Land Of Hope And Glory Medley from '77 are the definite highlights here and one has to ask if these concerts were recorded in their entirety when can we hear more? But anyway, a very nice box. The cigar box packaging is pretty cool and the booklet contains a well written history of the band with lots of nice pictures. Well worth getting for disc 2 alone.


Nightcap
On the back of the booklet that came with the 25th Anniversary box is an ad concerning the release of "JT's Other Boxed Set". This collection lost it's live material and was released as the two CD set Nightcap, a collection of out takes, B-sides and rarities in the tradition of Living in the Past and 20 Years of Jethro Tull. The first disc is The Chateau D'Isaster Tapes, most of the music recorded for the unfinished double album that was intended to be the follow up to Thick as a Brick (there is still 8 minutes of material, including a version of Skating Away, that Ian won't let us hear). Recorded at the Chateau D'Herouville near Paris, the project was scrapped due to illness, technical problems and the desire to return to Britain. This is fascinating stuff. The best tracks are the last three, Scenario, Audition and No Rehearsal, that were first released on the 20 Years of Jethro Tull box. This song cycle holds its own next to Tull's classic progressive music (Thick as a Brick and A Passion Play). Look at the Animals and Law of the Bungle are two of the weirdest and silliest songs Ian has ever written but Martin Barre's spoken intro to Law of the Bungle II beats them on the weirdness scale. It's hard to understand how such fun music emerged from sessions that were supposed to be so dismal. Quite a few of the tunes on the Tapes should sound familiar to those who have heard A Passion Play and for people who love that album The Chateau D'Isaster Tapes is a must-have. The second disc is called Unreleased and Rare Tracks and consists of outtakes from 1974 through 1991 and it's a mixed bag. A large chunk of these tunes come from the prolific Broadsword sessions but there is nothing that measures up to Jack-A-Lynn or Jack Frost and the Hooded Crow here. Apart from the catchy Commons Brawl the '81 outs are all pretty forgettable. The Catfish Rising outtakes fare much better. These six tracks were originally released on the Living in the (Slightly More Recent) Past double CD single and they are all very good songs-especially Truck Stop Runner and Rosa on the Factory Floor (which should have been on Catfish Rising instead of Doctor to my Disease and White Innocence). The Too old to Rock 'N' Roll, Too Young to Die out take, A Small Cigar, is unlike anything else Tull has done. It suggests that in a parallel universe Ian is a musical comedy star. This track wouldn't have improved Too Old... one bit but you're glad to have been given the opportunity to hear it. The Warchild out takes are very odd tunes. In Paradise Steakhouse Ian tells his lover that he wants to roast her on the spit of love and divide her into tender pieces (say what?). Sealion II is a vehicle for Jeffrey Hammond's surreal weirdness and Quartet is a strange, jazzy, almost comic instrumental which probably would have fit on WarChild nicely (a bit of this tune can be heard in Ian's flute solo on Bursting Out). The best thing on this disc is a cut from 1978 called Broadford Bazaar, a beautiful, haunting tune with a strong Celtic flavor about a flea market on the Isle of Skye. It's almost worth buying the set to get this lost classic. Newbies should probably hold off on this collection, but it's an essential acquisition for the true believers.


Divinities:
Twelve Dances With God
This is an Ian Anderson solo album, and like Walk Into Light it isn't what one would expect. Unlike Walk Into Light this album is quite good. EMI asked Ian to record a classical album and this is what he came up with. I'm not sure "classical" is the right word for this collection of instrumental flute music for Ian and "orchestra" (I think the orchestra consists of Andy Giddings digital synthesizers) but whatever category you stick this in, it's beautiful music. Definitely not for those who scream "rock and roll" during the quiet bits at Tull concerts, but those who appreciate Ian's gift for strong melody and his flute skills should love this. He uses different styles of music from many different cultures to explore religious diversity. Celtic mysticism, Islam, Judaism, Christianity and Hinduism are all represented. The opening theme first appears in a Celtic guise and reappears in an East Indian motif at the album's close, giving the work a feeling of unity. "In the Grip of Stronger Stuff" with it's tricky rhythms is probably the most Tull like cut and is routinely played live by the band. Because this is nice, relatively quiet music some Tull fans consider this a snooze but I think it's one of Ian's best works and, along with the Tull album that followed-"Roots to Branches", it proves that he hasn't lost any of his creativity.


Roots To Branches
This album is simply brilliant. The best Jethro Tull album since the seventies. Not a bad cut on it. Although it sounds like nothing else the band has ever done it still sounds exactly like Jethro Tull. Ian relearned how to play the flute on Divinities and his new flute sounds shine here. He plays the flute more on this album than any previous Tull album. The Middle Eastern sound from some of the Divinities tracks can be heard here-most notably on the title cut, Rare and Precious Chain and Dangerous Veils. Although more subtle than their seventies work, the tricky rhythms and jazzy change-ups remind me of Thick as a Brick. Andy Giddings keyboard playing on the album is wonderful. With his piano and organ sound and digital orchestration he proves to be a worthy successor to both John Evans and David Palmer. I hope he plays with the band for many years to come. My favorite cuts are Dangerous Veils and Beside Myself (they seem to be Ian's favorites too, these are the two tracks the band continues to play live), but I also love Rare and Precious Chain and the title cut and the absolutely beautiful At Last Forever and Valley, heck, I love it all! There are people out there who claim to be Tull fans who think the band should call it a day. How could anyone feel that way after the release of this masterpiece?




The Various Hits Collections
Like most bands that have been around for decades, Jethro Tull have released a number of greatest hits compilations ("best of" compilations would be a better term, Tull have only had two or three actual hit singles). The hits compilations are a good place for "newbies" to Jethro Tull to begin their collections. There have been dozens of different hits collections released around the world but here we will concentrate on the UK/US releases:

M.U. - The Best of Jethro Tull 1976
Repeat - The Best of Jethro Tull Vol. II 1977
Original Masters 1985
The Best Of Jethro Tull: The Anniversary Collection 1993
Through the Years 1997
36 Greatest Hits 1998

Taken together, M.U. and Repeat are a pretty good overview of the early days of Tull. There are some strange omissions (nothing from This Was) but the tunes that are included belong here. To get fans to buy these albums, Chrysalis threw in a couple of tunes that until recently have not been available anywhere else, Rainbow Blues on M.U. and Glory Row on Repeat. Both are good songs that all Tull fans will want to get eventually. In 1985 Chrysalis released Original Masters. It was one of the first Tull releases on compact disc and at the time, that was the only reason to buy this thing. Eight of the twelve songs were already released on M.U. and Repeat and the years '78-84 were totally ignored. If you must buy this album get the DCC gold disc which definitely has the best sound of any of the hits collections (the only reason to buy this thing today). The DCC disc has the complete version of Minstrel in the Gallery and the entire first half of Thick as a Brick (both are edited on the original Original Masters). I993 was Jethro Tull's 25th Anniversary and some great stuff was released: The 25th Anniversary boxed set, Nightcap and the 2 CD best of collection called The Best Of Jethro Tull: The Anniversary Collection. If only Original Masters had been more like this. A comprehensive look back at the band from'68 (This Was is represented here by Song for Jeffrey and Beggar's Farm) to '91 (Catfish Rising's This is Not Love). The sound quality is much better than the old Chrysalis releases, though not quite as good as the gold stuff. All the obvious tracks are here, such as Living in the Past, Teacher, Aqualung, Bungle in the Jungle etc., plus some less obvious tracks that round things out nicely (Mother Goose, Jack in the Green, Dun Ringell, Jack-A-Lynn). The only thing really wrong with it is that it doesn't include Rainbow Blues or Glory Row. The 3 disc collection 36 Greatest Hits however does include them. 36 Greatest Hits is an eccentric mix of the obvious and the obscure (how can they call Saboteur, Roll Your Own or I'm Your Gun "hits"?). There are some omissions-again, nothing from This Was and where is Bouree? The strange track selection though is one of this collections strong suits. It gives a fuller picture of what Jethro Tull are all about than the other collections. So I am recommending this set to newcomers. If you fall under their spell and decide you must have everything, this set will give you Rainbow Blues and Glory Row in much better sound than M.U. and Repeat. At 158 minutes it's a bit short for a 3 CD set but with its $20 price tag to complain about that would be quibbling. It can be hard to find. Follow the link to Dag's Sandbu's site above. That leaves the 1997 release Through the Years which breaks all the rules for such collections. Only two of these songs are from the obvious list, Living in the Past and Locomotive Breath, and the versions here are live recordings. The 13 tracks range from Dharma for One ('68) to Rare and Precious Chain ('95). The sound quality is quite nice. Even if you have all these tracks on other CDs you will find yourself playing this one because it's just a nice set of Tull tunes.