Jethro Tull – Aqualung (1971)

LPFrontCover1Aqualung is the fourth studio album by the rock band Jethro Tull. Released in 1971, Aqualung, despite the band’s disagreement, is regarded as a concept album featuring a central theme of “the distinction between religion and God”. The album’s “dour musings on faith and religion” have marked it as “one of the most cerebral albums ever to reach millions of rock listeners”. Aqualung’s success signalled a turning point in the band’s career, who went on to become a major radio and touring act.Aqualung is the fourth studio album by the rock band Jethro Tull. Released in 1971, Aqualung, despite the band’s disagreement, is regarded as a concept album featuring a central theme of “the distinction between religion and God”. The album’s “dour musings on faith and religion” have marked it as “one of the most cerebral albums ever to reach millions of rock listeners”. Aqualung’s success signalled a turning point in the band’s career, who went on to become a major radio and touring act.
Recorded at Island Records’ studio in London, it was their first album with John Evan as a full-time member, their first with new bassist Jeffrey Hammond, and last album featuring Clive Bunker on drums. Something of a departure from the band’s previous work, the album features more acoustic material than previous releases; and—inspired by photographs of homeless people on the Thames Embankment taken by singer Ian Anderson’s wife Jennie—contains a number of recurring themes, addressing religion along with Anderson’s own personal experiences.

Aqualung has sold more than seven million units worldwide according to Anderson, and is thus Jethro Tull’s best selling album. The album was generally well-received critically, and has been included on several music magazine “best of” lists. The album spawned two singles, “Hymn 43” and “Locomotive Breath”.

After an American tour in 1970, bass player Glenn Cornick was fired from the band,[4] and was replaced with Jeffrey Hammond, an old friend of Ian Anderson’s. Aqualung would be the first recording Hammond would do with the band. It would also mark the first time John Evan had recorded a full album with the band, as his only prior involvement was to provide several keyboard parts on the previous 1970 album, Benefit.


The album was one of the first to be recorded at the newly opened studios of Island Records in Basing Street, London. Led Zeppelin were recording their untitled fourth album at the same time. In an interview on the 25th anniversary edition of the album, Tull’s bandleader Ian Anderson said that trying to record in that studio was very difficult, because of its “horrible, cold, echoey” feel. There were two recording studios at the location; Led Zeppelin worked in the smaller studio while Tull got the larger, which was the main body of a converted church. The orchestrals were arranged by David Palmer, who had worked with the band since 1968’s This Was, and would later join as a keyboard player. Aqualung would be the last Jethro Tull album to include Clive Bunker as a band member, as he retired shortly after recording to start a family.


The songs on the album encompass a variety of musical genres, with elements of folk, blues, psychedelia, and hard rock.[8] The “riff-heavy” nature of tracks such as “Locomotive Breath”, “Hymn 43” and “Wind Up” is regarded as a factor in the band’s increased success after the release of the album, with Jethro Tull becoming “a major arena act” and a “fixture on FM radio” according to AllMusic.[2][9] In a stylistic departure from Jethro Tull’s earlier albums, many of Aqualung’s songs are acoustic. “Cheap Day Return”, “Wond’ring Aloud” and “Slipstream” are short, completely acoustic “bridges”, and “Mother Goose” is also mostly acoustic. Anderson claims his main inspirations for writing the album were Roy Harper and Bert Jansch.
Aqualung has widely been regarded as a concept album, featuring a central theme of “the distinction between religion and God”. The album’s “dour musings on faith and religion” have marked it as “one of the most cerebral albums ever to reach millions of rock listeners”. Academic discussions of the nature of concept albums have frequently listed Aqualung amongst their number.

In The Beginning
The initial idea for the album was sparked by some photographs that Anderson’s wife Jennie took of homeless people on the Thames Embankment. The appearance of one man in particular caught the interest of the couple, who together wrote the title song “Aqualung”. The first side of the LP, titled Aqualung, contains several character sketches, including the eponymous character of the title track, and the schoolgirl prostitute Cross-Eyed Mary, as well as two autobiographical tracks, including “Cheap Day Return”, written by Anderson after a visit to his critically ill father.

The second side, titled My God, contains three tracks—”My God,” “Hymn 43” and “Wind-Up”—that address religion in an introspective, and sometimes irreverent, manner. However, despite the names given to the album’s two sides and their related subject matter, Anderson has consistently maintained that Aqualung is not a “concept album”. A 2005 interview included on Aqualung Live gives Anderson’s thoughts on the matter:

I always said at the time that this is not a concept album; this is just an album of varied songs of varied instrumentation and intensity in which three or four are the kind of keynote pieces for the album but it doesn’t make it a concept album. In my mind when it came to writing the next album, Thick as a Brick, was done very much in the sense of: ‘Whuh, if they thought Aqualung was a concept album, Oh! Okay, we’ll show you a concept album.’ And it was done as a kind of spoof, a send-up, of the concept album genre. … But Aqualung itself, in my mind was never a concept album. Just a bunch of songs.

Drummer Clive Bunker believes that the record’s perception as a concept album is a case of “Chinese whispers”, explaining “you play the record to a couple of Americans, tell them that there’s a lyrical theme loosely linking a few songs, and then notice the figure of the Aqualung character on the cover, and suddenly the word is out that Jethro Tull have done a concept album”.
The thematic elements Jethro Tull explored on the album—those of the effects of urbanisation on nature, and of the effects of social constructs such as religion on society—would be developed further on most of the band’s subsequent releases. Ian Anderson’s frustration over the album’s labelling as a concept album directly led to the creation of Thick as a Brick (1972), intended to be a deliberately “over the top” concept album in response.


“Lick Your Fingers Clean” was recorded for Aqualung, but was not included on the album. The song was drastically re-worked as “Two Fingers” for Tull’s 1974 album, War Child. “Lick Your Fingers Clean” was eventually released in 1988 on the 20 Years of Jethro Tull collection. It was then released as a bonus track on the 1996 and 2011 reissues of Aqualung.

Another song, “Wond’ring Again” was recorded in early sessions in 1970 and considered for release on the album before Anderson decided to drop it from the final track listing. It was subsequently released on the compilation album, Living in the Past, in 1972. However, elements of the song—essentially its coda—were included on Aqualung as “Wond’ring Aloud”. Glenn Cornick played bass on the song and says it is his favourite song he recorded with the band.[6] Cornick also played bass on early studio recordings of “My God” and “a couple of other songs”, though he did not say which they were.


The album’s original cover art by Burton Silverman features a watercolour portrait of a long-haired, bearded man in shabby clothes. The idea for the cover came from a photograph Anderson’s wife took of a homeless man on Thames Embankment, and Anderson later felt it would have been better to have used the photograph rather than commission the painting. Ian Anderson recalls posing for a photograph for the painting, though Silverman claims it was a self-portrait. The artwork was commissioned and purchased by Chrysalis Records head Terry Ellis. Artist Silverman claims the art was only licensed for use as an album cover, and not for merchandising; and approached the band seeking remuneration for its further use. Silverman and Anderson have different accounts of level of enmity involved in this. The original artwork for both the front and back covers are now privately owned by an unknown family, apparently having been stolen from a London hotel room.
In April 1971, Aqualung peaked at number four on the UK Album Chart; when the CD version was released in 1996, it reached number 52. It peaked at No. 7 on the Billboard Music Charts’ North American pop albums chart; the single “Hymn 43” hit No. 91 on the Billboard Hot 100 chart. The album would go on to sell over seven million copies, and is the band’s best-selling album. Aqualung was one of only two Jethro Tull albums released in quadraphonic sound, the other being War Child (1974). The quadraphonic version of “Wind Up”, which is in a slightly higher key, is included on the later CD reissue of the album as “Wind Up (quad version)”.


The single “Hymn 43” was released on 14 August 1971, and reached number 91 on the Billboard Hot 100 charts, spending two weeks in the chart. The song was the first single released by the band in the United States. It was later included in the video game Rock Band 2 as downloadable content; which also featured the album’s title track.
The album was re-released in a 40th anniversary edition on 31 October 2011. The release contains a new stereo and 5.1 surround remix of the album by British musician and producer Steven Wilson, and comes in two different editions—a “collector’s edition” containing the album on LP and two CDs, as well as DVD and Blu-ray discs and a hardback book; and a “special edition” containing the two CDs and an abridged version of the book.

Justifying the remix, Steven Wilson said: “Jethro Tull’s Aqualung is … a masterpiece, but was sonically a very poor-sounding record. So, some didn’t rate it as highly as they should have. What we did with Aqualung was really make that record gleam in a way it never gleamed before. I think a lot of people, including myself, have come around to thinking that the album is a lot better than they even gave it credit for previously. So, there is certainly something very gratifying about being able to polish what was already a diamond and making it shine in a way it never has before”. Additionally, according to mastering engineer Steve Hoffman there were tape stretching problems with the original session mixdown master, implying that many editions of the album used multigeneration copies as their source.


Aqualung received mixed to favourable reviews from contemporary music critics. Rolling Stone magazine’s Ben Gerson lauded its “fine musicianship”, calling it “serious and intelligent”, although he felt that the album’s seriousness “undermined” its quality. Sounds said that its “taste and variety” made it the band’s “finest” work. Aqualung was voted the 22nd best album of 1971 in The Village Voice’s annual Pazz & Jop critics’ poll.[34] Robert Christgau, the poll’s creator, was more critical of the album in a 1981 review, and described Anderson’s undeveloped cultural interests and negative views on religion and human behaviour as both boring and pretentious.
In retrospective reviews the album is generally lauded and viewed as a classic. AllMusic’s Bruce Eder called Aqualung “a bold statement” and “extremely profound”. In a review of the album’s 40th anniversary re-release, Sean Murphy of PopMatters said that Aqualung “is, to be certain, a cornerstone of the then-nascent prog-rock canon, but it did—and does—exist wholly on its own terms as a great rock album, period”. Murphy also praised the additional material featured on the release, finding that the new content was “where a great album gets even better”.


Steve Harris, the bass player for the heavy metal band Iron Maiden, has called Aqualung “a classic album”, lauding its “fantastic playing, fantastic songs, attitude [and] vibe”. Iron Maiden would go on to cover “Cross-Eyed Mary” as the B-side of their 1983 single “The Trooper”.
Aqualung has also been appraised highly in retrospective listings, compiled by music writers and magazines (see Accolades). Even Martin Barre’s solo on the album’s title track was included in Guitarist magazine’s list of “The 20 Greatest Guitar Solos of All Time” at number 20. (by wikipedia)

Without any doubt … Aqualung ist one of the most important albums of the early 70´s.

And … in my first band, called “Dying Sun” we played a wild version of “Locomotive Breath”, but, to be honest — the original version was much better *smile*


Ian Anderson (vocals, guitar, flute)
Martin Barre (guitar, recorder)
Clive Bunker (drums, percussion)
John Evan (keyboards)
Jeffrey Hammond-Hammond (bass, recorder, background vocals on 04.)
Clive Bunker (drums, percussion)


01. Aqualung (I.Anderson/J.Anderson) 6.37
02. Cross-Eyed Mary (I.Anderson) 4.10
03. Cheap Day Return (I.Anderson) 1.23
04. Mother Goose (I.Anderson) 3.53
05. Wond’ring Aloud (I.Anderson) 1.56
06. Up To Me (I.Anderson) 3.15
07. My God (I.Anderson) 7.13
08. Hymn 43 (I.Anderson) 3.19
09. Slipstream (I.Anderson) 1.13
10. Locomotive Breath (I.Anderson) 4.27
11. Wind-Up” (I.Anderson) 6.08
12. Lick Your Fingers Clean (I.Anderson) 2.46
13. Wind Up (Quad Version) (I.Anderson) 5.24
14. Excerpts from the Ian Anderson Interview (Mojo Magazine) 13.59
15. Song For Jeffrey (BBC) (I.Anderson) 2.51
16. Fat Man (BBC) (I.Anderson) 2.57
17. Bouree (BBC) (Bach) 3.58




Jethro Tull – This Was (1968)

FrontCover1This Was is the debut album by the British progressive rock band Jethro Tull, released in 1968. Recorded at a cost of £1200, it is the only Jethro Tull album with guitarist Mick Abrahams, who was a major influence for the sound and music style of the band’s first songs. When the album was released the band was already performing at the Marquee Club in London, where other successful British groups, such as the Rolling Stones and The Who, had started their careers.

While vocalist Ian Anderson’s creative vision largely shaped Jethro Tull’s later albums, on This Was Anderson shared songwriting duties with Tull’s guitarist Mick Abrahams. In part due to Abrahams’ influence, the album incorporates more rhythm and blues and jazz influences than the progressive rock the band later became known for. In particular:

The music to “My Sunday Feeling”, “Some Day the Sun Won’t Shine for You”, “Beggar’s Farm” and “It’s Breaking Me Up” are based on blues progressions, with “Some Day the Sun Won’t Shine for You” arranged similarly to Big Bill Broonzy’s blues standard “Key to the Highway”.


“Cat’s Squirrel” (included in the album “because people like it”, according to the liner notes) was written by Doctor Ross and covered as an instrumental by numerous 1960s British blues bands, including the supergroup Cream. Abrahams would later perform the song in his post-Jethro Tull blues band Blodwyn Pig.
The album includes a cover version of Roland Kirk’s jazz standard “Serenade to a Cuckoo”. According to the liner notes, “Cuckoo” was one of the first tunes Ian Anderson learned to play on the flute.
The coda of “My Sunday Feeling” incorporates quotes from two well-known jazz tunes, Henry Mancini’s “Pink Panther Theme” (specifically the song’s bass line, played as a short solo by Glenn Cornick) and Nat Adderley’s and Oscar Brown, Jr.’s “Work Song”.

This Was also contains the only Jethro Tull lead vocal not performed by Ian Anderson on a studio album, in “Move on Alone”. Mick Abrahams, the song’s author, provided vocals on the track; David Palmer provided the horn arrangement.

Abrahams left Jethro Tull following the album’s completion in a dispute over “musical differences”. Thus, the album’s title probably refers to Abraham’s’ blues influence on the album and how blues weren’t the direction Anderson wanted the band to go. As said in the liner notes of the original record, “This was how we were playing then – but things change – don’t they?”

The song “Dharma for One”, a staple of Tull’s early concerts (usually incorporating an extended drum solo by Clive Bunker), was later covered by Ekseption, Pesky Gee! and The Ides of March. This song featured the “claghorn”, an instrument invented by Jeffrey Hammond. Anderson also claims to have invented the instrument.


This Was received generally favourable reviews and sold well upon its release. Melody Maker review thoroughly recommended the album in 1968 for being “full of excitement and emotion” and described the band as a blues ensemble “influenced by jazz music” capable of setting “the audience on fire”. Allen Evans of New Musical Express wrote in his review that the album “sounds good and has a lot of humour about it” and that the band “play jazz really, in a soft, appealing way, and have a bit of fun on the side with tone patterns and singing”. American critic Robert Christgau, on the contrary, was appalled by the success of a band that combined “the worst of Roland Kirk, Arthur Brown, and your nearest G.O. blues band.”


Recent reviews of the remastered edition underline the duality of Anderson and Abrahams’ songwriting and stage presence, as well as the strong ties of the band to blues in their early days. Sid Smith of BBC Music wrote that “what made Tull stand out from the great-coated crowd (of touring bands) was the high-visibility of frontman Ian Anderson’s on-stage Tourette’s-inspired hyper-gurning and Mick Abraham’s ferocious fretwork.”[10] An AllMusic reviewer remarked how Jethro Tull on their vinyl debut appeared “vaguely reminiscent of the Graham Bond Organization only more cohesive, and with greater commercial sense”. David Davies of Record Collector reminds how “This Was only hints at the depth and majesty of the ensuing seven albums”, but also wrote that “the direct, unfussy and predominantly blues-based” tracks of the original recordings and the extra tracks of the collector’s edition “could well come as something of a surprise” and “be of the greatest interest to Tull aficionados.” (by wikipedia)


Ian Anderson (vocals, flute, harmonica, claghorn, piano)
Mick Abrahams (guitar, vocals)
Clive Bunker (drums, percussion)
Glenn Cornick (bass)
David Palmer (french horn)


01. My Sunday Feeling (Anderson) 3.43
02. Some Day The Sun Won’t Shine For You (Anderson) 2.49
03. Beggar’s Farm (Abrahams/Anderson) 4.19
04. Move On Alone (Abrahams) 1.58
05. Serenade To A Cuckoo (Kirk) 6.07
06. Dharma For One (Anderson/Bunker) 4.15
07. It’s Breaking Me Up (Anderson) 5.04
08. Cat’s Squirrel (Traditional) 5.42
09. A Song For Jeffrey (Anderson) 3.22
10. Round (Anderson/Abrahams/Bunker/Cornick/Ellis) 1.03



Jethro Tull – The Christmas Album (2003)

frontcover1For a band that remained relatively consistent (with a few minor exceptions) in their approach to rock & roll since 1968, Jethro Tull also possessed a sound that was uniquely ’70s-oriented during their most successful period between 1971-1978. Avid fans have been yearning for the group’s return to the style which made them one of the most successful of the guitar-based, mainstream prog outfits — albums like Broadsword and the Beast and J-Tull.Com touched on their former glory, but they didn’t fully satisfy. Christmas Album could be the recording that those fans have been waiting for, and they shouldn’t let its title or overt seasonal orientation dissuade them — with their liberal use of classic English folk music and overall orientation toward England’s past (even in their name), Jethro Tull is also the one prog rock/hard rock band of their generation that could issue a Christmas album that folds so easily into the rest of their output; it transcends its purpose and focus, mostly through the quiet boldness of its music and playing and the surprising excitement that laces most of the 16 songs. With a mixture of re-recorded old songs, Christmas standards and new originals, songwriter/singer Ian Anderson, in a roundabout manner, captures the tradition, warmth, and bittersweet feelings that are inextricably linked to the holiday season; at the same time, Anderson, longtime collaborator/lead guitarist Martin Barre, and the rest of the group’s 2003 lineup recapture the musical intensity of three decades’ past, and build on the classic Tull mood of sardonic humor, wry irony, and fierce passions that permeated all of their work from Stand Up to Songs From the Wood.

illustration01All of this material, in its content and execution, recalls the group’s prime early-’70s years and levels of musical complexity not presented so successfully by this band in at least 25 years. With a generous use of unamplified instruments like mandolin, acoustic guitar, flute, and accordion, this album resembles the production found on Songs From the Wood and Heavy Horses. In fact, three tracks from those two albums were reworked for this release; “Fire at Midnight,” “Ring Out Solstice Bells” and “Weathercock.” Only “Ring Out Solstice Bells” appeared to be the obvious choice for a Christmas album, but given Anderson’s offbeat perspective of things, the other two tracks assimilate nicely. In addition, “Jack Frost and the Hooded Crow” sounds like it could have emanated from those 1977 and 1978 recordings, as could “Last Man at the Party” from 1974’s War Child sessions. Among the re-recordings, pieces such as “A Christmas Song,” that originally had orchestral accompaniment, are redone without it, in new arrangements, while others that were done without orchestra get dressed up with strings. From the traditional side of Christmas, Tull gives “God Rest Ye Merry Gentlemen” a jazzy adaptation reminiscent of “Bouree” from Stand Up (which is also revisited on this recording) and “We Five Kings” sounds rhythmically similar to “Living in the Past,” particularly the bass guitar line. In addition to Bach’s Bouree, the majestic Gabriel Fauré piece Pavane is included, which features guitarist Martin Barre’s exceptional acoustic playing. And Barre himself gets a rare solo composition as the album closer (a Christmas gift from Anderson?), the deeply evocative tone-painting “A Winter Snowscape,” which takes some gratifying turns away from the most obvious melodic direction. The album’s overall mix of folk, jazz, pop, rock, and classical elements carries it beyond the holiday listening for which it was intended, and is all woven together so skillfully as to make this an essential Tull album, their first in almost three decades and their most musically rewarding. And although this Christmas album doesn’t necessarily conjure up images of Santa and the Savior, it does create a mood and feeling reflective of the holiday season. More importantly, it is perhaps the most satisfying Tull releases in 25 years. (Dave Sleger)


Ian Anderson (flute, vocals, guitar, mandolin, percussion)
Martin Barre (guitar)
Andrew Giddings (keyboards, accordion)
Jonathan Noyce (bass)Doane Perry (drums, percussion)
James Duncan (drums, percussion)
Dave Pegg (bass, mandolin)
The Sturcz String Quartet:conducted by András Sturcz:
Gyula Benkő (viola)
Gábor Csonka (1st violin)
András Sturcz (cello)
Péter Szilágyi (2nd violin)


01. Birthday Card At Christmas (Anderson) 3.37
02. Holly Herald (Traditional) 4.16
03. A Christmas Song (Anderson) 2.47
04. Another Christmas Song (Anderson) 3.31
05. God Rest Ye Merry, Gentlemen (Traditional) 4.35
06. Jack Frost And The Hooded Crow (Anderson) 3.37
07. Last Man At The Party (Anderson) 4.48
08. Weathercock (Anderson) 4.17
09. Pavane (Fauré) 4.19
10. First Snow On Brooklyn (Anderson) 4.57
11. Greensleeved” (Traditional) 2.39
12. Fire At Midnight (Anderson) 2.26
13. We Five Kings/We Three Kings (Hopkins) 3.16
14. Ring Out Solstice Bells (Anderson) 4.04
15. Bourée (Bach) 4.25
16. A Winter Snowscape (Barre) 4.57

Tracks 3, 4, 6, 8, 12, 14, and 15 are all re-recordings of previously released pieces. ‘Bourée’, however, has significant alterations to the musical arrangement.




Jethro Tull – Living In The Past (1972)

FrontCover1Living in the Past is a double album quasi-compilation collection by Jethro Tull, which contains album tracks, out-takes, the “Life Is a Long Song” EP, and all of their singles except for “Aeroplane”, “Sunshine Day”, “One for John Gee”, “17” and the original United Kingdom version of “Teacher” (the United States single version was included instead). Many of the tracks only appeared as British releases before being compiled on Living in the Past for the first time in the American market.

The album was named after the single released in May 1969 and was released in an elaborate gate-fold packaging that contained a large colour photo booklet with over 50 photos of the band.

Two songs, “By Kind Permission Of” and “Dharma for One”, were recorded live at Carnegie Hall. “Love Story”, “Christmas Song”, “Living in the Past”, “Driving Song”, “Sweet Dream” and “Witches’ Promise” were originally released as mono singles and remixed into stereo for inclusion on the album.

Booklet06AIn the United States, Living in the Past was the first Jethro Tull album to appear on the Chrysalis Records label; while each of the band’s previous albums were marked as “a Chrysalis Production”, the albums were released by Warner Bros. Records’ Reprise Records subsidiary. Interestingly, early U.S. editions of Living in the Past bore both a Chrysalis catalogue number (2CH 1035) and a Reprise catalogue number (2TS 2106). This suggests that the album was scheduled to appear on Reprise Records but Chrysalis gained control of the band’s USA releases in late 1972.

Booklet11AThe album peaked at No. 3 on the Billboard 200 charts and went gold not long after its release. The title track from the album became Tull’s first top-40 hit in the United States, reaching No. 11, a full three years after it performed well in Britain. In UK, the album reached No. 13. In Norwegian charts, the album hit No. 5.

JohnEvanListen to this collection, put together to capitalize on the explosive growth in the group’s audience after Aqualung, and it’s 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. (by Bruce Eder)

Mick Abrahams (guitar on 01. + 02)
Ian Anderson (flute, vocals, mandolin, tin whistle, guitar, balalaika, organ, violin)
Barriemore Barlow (drums on 17. – 20.)
Martin Barre (guitar, percussion, background vocals)
Clive Bunker – drums, percussion, background vocals on 14.)
Glenn Cornick (bass, organ on 08.)
John Evan (keyboards, percussion + background vocals on 14.)
Jeffrey Hammond (bass)

01. A Song for Jeffrey (from the album This Was) 3.20
02. Love Story (1969 UK single) 3.02
03. Christmas Song (1969 UK single) 3.05
04. Living In The Past (1969 UK single) 3.20
05. Driving Song (1969 UK single) 2.39
06. Bourée (Bourrée in E minor by Bach) (from the album Stand Up) 3.43
07. Sweet Dream (1969 UK single) 4.02
08. Singing All Day (previously unreleased) 3.03
09. Witch’s Promise (1970 UK single) 3.49
10. Teacher (1970 UK single) 4.08
11.  Inside (from the album Benefit) 3.49
12. Just Trying To Be (previously unreleased) 1.36
13. By Kind Permission Of (previously unreleased) (Evan) 10.11 (*)
14. Dharma For One (previously unreleased) (Anderson/Clive Bunker) 9.45 (*)
15. Wond’ring Again (previously unreleased, recorded in 1970 Aqualung sessions, part of the song is the same as “Wond’ring Aloud”) 4.12
16. Locomotive Breath (from the album Aqualung) 4.24
17. Hymn 43 (from the album Aqualung)
18. Life Is A Long Song (from 1971 UK EP) 3.18
19. Up The ‘Pool (from 1971 UK EP) 3.10
20. Dr. Bogenbroom (from 1971 UK EP) 2.59
21. For Later (instrumental, from 1971 UK EP) 2.06
22. Nursie (from 1971 UK EP) 1.38

All songs written by Ian Anderson, except as indicated

(*) Recorded live at Carnegie Hall for the benefit of Phoenix House, 4 November 1970



Jethro Tull – Benefit (1970)

FrontCover1Benefit is the third album by Jethro Tull, released in April 1970. It was the first Tull album to include pianist and organist John Evan – though he was not yet a permanent member of the group – and the last to include bass guitarist Glenn Cornick. Recorded in a better studio than the previous albums, the band could experiment new tecniques. “To Cry you a Song” and “Teacher” became notorious for the stage shows and radio frequencies.

Anderson has said that Benefit is a much darker album than the predecessor Stand Up for the pressures of an extensive tour in U.S. couple with frustrations with the music business.

Martin Barre said that compared to previous albums, Benefit was a lot easier to create. He attributed this to the success of Stand Up, which allowed the musicians more freedom and artistic latitude.

Bassist Glenn Cornick stated that the intention on the making of the album was to let a more “live-r” feeling to the music, saying that: “I felt the last one sounded like a group of session musicians performing various songs. It was pretty cold”.

JethroTullLive1970Additionally, Benefit saw the band incorporate more advanced studio techniques. These included back-tracking (flute and piano tracks on “With You There to Help Me”), and manipulating the tape speed (guitar on “Play in Time”). In a 1970 interview, Anderson noted that the addition of pianist/organist John Evan effectively changed the band’s style: “John has added a new dimension musically and I can write more freely now. In fact, anything is possible with him at the keyboard”.

Ian Anderson said that Benefit was a ‘guitar riff’ album, and noted that it was recorded in a year when artists like Cream, Jimi Hendrix and Led Zeppelin were becoming more riff-oriented than in the past. Anderson also noted that Benefit is “a rather dark and stark album, and although it has a few songs on it that are rather okay, I don’t think it has the breadth, variety or detail that Stand Up has. But it was an evolution in terms of the band playing as ‘a band.'”. Overall, Anderson considered the album “a natural part of the group’s evolution”

Benefit’ music style can be exemplified by “To Cry You a Song”, as Martin Barre put it: “The influence for that song was Blind Faith’s ‘Had To Cry Today,’ although you couldn’t compare the two; nothing was stolen […]. The riff crossed over the bar in a couple of places and Ian and I each played guitars on the backing tracks. It was more or less live in the studio with a couple of overdubs and a solo, Ian played my Gibson SG and I played a Les Paul on it”.

PromoPic1Critics were generally unimpressed with Benefit. Rolling Stone called the album “lame and dumb”. Disc & Music Echo, on the other hand, was also unimpressed, but recognized the band quality: “This album doesn’t advance by such a drastic leap as Stand Up did from This Was. It’s more like the Jethro Tull we’ve seen and heard for the past year. It seems to be a remarkably long album, and shows what an exciting group this is. Exciting because they can have quite long guitar breaks and still retain a very tight and together sound”. AllMusic review came more benevolent and accepting the album’ style. Bruce Eder state that: “Most of the songs on Benefit display pleasant, delectably folk-like melodies attached to downbeat, slightly gloomy, but dazzlingly complex lyrics, with Barre’s guitar adding enough wattage to keep the hard rock listeners very interested. ‘To Cry You a Song’, ‘Son’, and ‘For Michael Collins, Jeffrey and Me’ all defined Tull’s future sound: Barre’s amp cranked up to ten (especially on ‘Son’), coming in above Anderson’s acoustic strumming, a few unexpected changes in tempo, and Anderson spouting lyrics filled with dense, seemingly profound imagery and statements.”

Benefit was the first million record seller from Jethro Tull. The album reached No. 3 in the UK album charts; No. 11 in the US and No. 2 in Norway.

Ian Anderson (vocals, guitar, flute, keyboards)
Martin Barre (guitar)
Clive Bunker (drums)
Glenn Cornick (bass, organ)
John Evan (keyboards)
David Palmer (Orchestral arrengements)

01. With You There To Help Me  6.15
02. Nothing To Say 5.10
03. Alive And Well And Living In 2.43
04. Son 2.48
05. For Michael Collins, Jeffrey And Me 3.47
06. To Cry You A Song 6.09
07. A Time For Everything? 2.42
08. Inside 3.38
09. Play In Time 3.44
10. Sossity; You’re A Woman 4.31
11. Singing All Day 3.07
12. Witch’s Promise 3.52
13. Just Trying To Be 1.37
14. Teacher (Original U.K Mix) 3.49

All songs written By Ian Anderson