Jethro Tull is one of those weird bands that is simultaneously famous and almost completely unknown. They actually do get a fair amount of radio play, with Aqualung contributing its fair share of standards to a station's playlist, and it's not that unusual to hear a 5 minute, condensed version of Thick as a Brick. Plus, there quite a few people in this world who own the Original Masters compilation, and heck, I read somewhere that Ian Anderson is the richest rock musician in the world (though that might be more due to his catfish farms than to record sales). Despite this, however, there really aren't that many hardcore Tullers in the world (which may be for the better, judging from the demeanor of some of the fans I've come across on the net). And this is where things start to get complicated.

If one were to ask 100 Joe Schmo classic rock buffs what they thought of when they heard the name "Jethro Tull," virtually every single one would mention the menacing opening riff to the title track of Aqualung. The thing is, while Aqualung is a great song (as is most every song on the album), it is certainly not the group's finest moment. And this is where hardcore prog-rock fans come in with all their might. Perhaps as a retaliation to the popularity of "mainstream" and "mindless" rock songs such as Aqualung and Locomotive Breath, many have taken the approach that the "true" Jethro Tull does not begin until Thick as a Brick and A Passion Play. They claim that the high-brow proggy albums of the remainder of the 70's are the band's most important legacy to the musical world and pretty much dismiss the group's early stuff as too simple. Well ... I'm a pretty big fan of prog rock myself, but I would have to say pretty definitively that this viewpoint is as far from the truth, if not further, as to merely associate Tull with Aqualung.

The main problem I have is that trying to pigeonhole Jethro Tull as prog rock only does a major disservice to the band, mainly becase they can't be pigeonholed as ANYTHING but simply 'Jethro Tull.' I mean, there's a reason you don't hear about too many Jethro Tull cover bands - the style they created is simply inimitable. Some folk, a smidge of classical, a touch of hard rock and a pinch of blues, all mixed just right with the unusual personality of frontman Ian Anderson. Besides being a songwriting genius (sometimes), his style of flute-playing, combined with his bouncing around the stage on one leg prattling on about goodness-knows-what, created an image that was always exciting to watch and often enjoyable to hear. For a little while, anyway, it was VERY enjoyable to hear, at least to my ears; I can honestly say without exaggeration that 1969 for Jethro Tull is one of my favorite years for any band ever, and a compilation I made for myself containing Stand Up and all the A and B-sides from that year is one of my most listened-to CD's. It's not as if Ian only had one year of glory in him, though; as he became more serious, he managed to create in Aqualung and Thick as a Brick (as well as the Chateau D'Isaster tapes) some of my favorite albums ever, especially TAAB, which is a worthy candidate for one of the five greatest achievements in the history of prog rock.

Unfortunately, around 1973, Anderson crossed the line he had successfully walked on TAAB, and the result is that, as far as I'm concerned, an alarming amount of the band's output for the rest of the decade is either tediously boring or unlistenably crappy (and that's made worse by the fact that he came out with a new album every year). He became much more concerned with flooding the world with poetic manifestations of his views on God, organized religion and how much critics hated him than with making the kind of entertaining music he had been able to do before ... no, wait, I need to take a step back on the "entertaining" statement. This era of the band certainly falls into the category of prog rock, which is more than willing to accept mystical lyrics and an overall bombastic nature than "regular" rock does, but it's certainly not the case that I dislike this era on an overall level because of the fact that it's prog rock (in case you didn't notice, this page is linked from John McFerrin's Rock and Prog Reviews). The problem I have is that he decided to do prog rock in exactly the way I don't like (but a way that apparently many fans prefer): consciously avoiding "conventional" song-writing approaches, ie memorability and cohesive melodies, and using complexity and atmosphere as a substitute. Thick as a Brick is as great as it is because, among other things, the raw materials (which are then pasted together using experimental structures and wildly entertaining instrumental breaks) are solid songs in their own right, with terrific hooks and solid riffs and the same kinds of gifts that Ian showed he had in spades in his heyday. From Passion Play onward, though, way too much of Tull's output gets away from those materials, instead leaning as much as possible on Ian's philosophical musings (which I don't have an opinion on either way), his "atmospherics" (which aren't his greatest gift) and complex (the trait always mentioned in defense of them) instrumental breaks that aren't really more complex than his best pre-'73 moments (though some of the textures are at least theoretically intriguing; theoretically, mind you) but that manage to strike me (on the whole) as dull and tedious. If you can get your rocks off with them, more power to you; as for me, no thanks.

There's also the unfortunate fact that (with a couple of exceptions, of course) his post-seventies work ranges from mediocre to outright garbage, as he dabbled first in electronics and then moved to generic heavy-metal, where he's pretty much stayed ever since. BUT, the amazing quality of the band's output through '72, plus the fact that they were (and are, to an extent) an amazing live band and that Ian _did_ pull out a couple of very good albums after the band's peak guarantees the group a rating of four out of five on my scale. Just remember, though - BE CAREFUL when buying a Jethro Tull album. Just as many, if not more, of the group's albums are mediocre or bad as are very good or great.

But hey! That's why I'm here - to tell you which albums I think are the good ones.

What do you think about Jethro Tull?

Jamie Anthony (jaony@lineone.net)

Well, I'm a hardcore Jethro Tull fan, and you got my Tullian philosophy pretty right. The album-orientated Tull sound emerged around 1972, with Thick As A Brick. Before that, they released a bunch of fantastic, light-hearted pop singles which can mostly be found on Living In the Past (10/10 for that one).

It's true that Jethro Tull are also one of those bands which are massive in a way, and yet hardly anyone you meet on the street will even know who they are (like Yes, or Crimson, or, well, almost any Prog band) - I guess that's what's called a "cult" band - they have a limited following, but boy, that limited following is a devoted following.

It's also funny how many people I've met who have heard of Jethro Tull who seem to share your views on them - a good band who did too much. I don't think they did enough, personally.

Still, I've always thought that when it comes to art (or music), it's better for some people to love it rather than everyone to like it.

Jan Vooribj (jvoorbij@kabelfoon.nl)

My opinion? Tull rules!

Sam Thirouin (scthir@1st.net)

Probably one of the most eclectic rock (if you want to categorize it somewhere) groups in history, Jethro Tull have always been my favorite in all the years I have known of them (1971, with Aqualung). For one thing, there's always a Tull album that reflects the listening mood I'm in, thanx to the diversity of each album. I am one to listen to lyrics also, and Ian Anderson's lyrics are some of the most intelligent and thought-provoking I've heard.

I know quite a few people that either hate, or love, Jethro Tull. And only a handful that just like them. Tull are just one of those groups you have to love or hate. And No, they can't be loved by everyone. They don't do that MOR stuff everyone loves to hear. They won't do that Pop/Soft rock stuff that makes the girls swoon to the floor. The can't abide by everyone else's wishes and put out music every year like clockwork. They are Jethro Tull. And Jethro Tull do things in an out-of-the-ordinary way. Always have. Probably always will. We can only hope.

Becky Alex (balex1@tampabay.rr.com)

I agree with some of what you say in your review of the various Tull albums. However:

1. All of the songs on the Benefit album are outstanding. Teacher is your best song. You have been listening to too much classic rock & roll radio.

2. APP is a great album, period. You seem to be stuck on melody, try three blind mice. By the way The Lamb album, Genesis... now that's boring!! Where are they now, touring with Yes, making Disney songs, or propping up Donny Osmand's career?

3. SFTW, HH, and SW all excellent. Nothing bad here except a couple things off of SW. Although the I disagree with you on the best song on SW. I think it is Flying Dutchman, without doubt.

4. Crest, Nightcap, Roots, and .com are all good albums. Granted not as good as earlier material, but far better than the crap I here on radio in Tampa Florida, that I can guarantee you. Maybe you haven't gotten around to listening to them, but if you think that Tull's last good album is Broadsword... wow your missing some very good music.

Tull is a great band, somebody must like them there going on thirty-two years of music. Tull is in the middle of a US tour just after completing a European tour. I saw them for the first time and was impressed. One thing they are not a that is a band hanging on to the hits from the past like some many of the bands touring these days. I've got to give them credit for that! I enjoyed reading your reviews (your humor is pretty good too) and appreciate the work you put into your site.

RHennHouse@aol.com

Minstrel, Too Old to Rock n' Roll..., and Songs From the Wood. While I love all three, I find it hard to figure out why you rated Too Old highest. I would have ranked them completely opposite of you. I would imagine that you get some angry messages, being the way some Tull fans are very loyal, to say the least. I've come to the conclusion that you and I are going to disagree on almost everything Tull. Oh well. That's the way it goes. Locomotive Breath is your favorite song off three different albums?! They have so much more to offer.

(author's note): Well, I would first definitely agree that there is much more to Tull than Locomotive Breath. But I can't help it if, on both of the live albums I own of the group, LB kicks so much ass.

As for angry messages ... well, not really. All readers comments I've gotten on the site have been posted, and they're not that venomous.

And as for my thoughts on "classic" Tull albums like Minstrel or Songs ... well ... I think I've said everything that needs to be said.

And besides, don't forget that for all of the band's many, many flaws, I still love and respect them enough to grant them a rating of 4/5 stars, which is NOT bad at all.

David B (davbo6@hotmail.com)

Hi

Good site, and a pretty good assessment of Tull's career.

I tend to agree with a great deal of what you say.

1982 was a turning point for me as a fan of the band. Some of their albums up to then were absolutely fantastic. I agree that 'Stand Up' is a great album, and one which I listen to regularly.

Importantly, though, even the crappier Tull albums had some redeeming features on it. A decent couple of tracks, maybe. A nice lyric. Perhaps a good guitar solo. But from 'Under Wraps' onwards things were, simply, terrible. Imagine being a Tull fan, looking forward to the next release with great anticipation, hoping for a return to the better days. Instead, after buying each new release, there comes the realisation that Ian Anderson has served up yet another almighty pile of poo.

And I'm sorry, but I don't buy the theory that Tull has gone through some kind of musical renaissance that started with 'Roots to Branches' and has continued with 'J-Tull.com'. These albums are BAD. Their only positive point is that there are not as unremittingly dreadful as those that have come before -- and this is, I think, why they've been slightly more positively received.

All in all, though, I feel a great deal of affection for Tull. I love alot of their stuff up to and including Broadsword. I just wish Ian Anderson would recognise that many of his fans would prefer him to stick to the fish farming....you're never disappointed with a nice slice of smoked salmon, whereas you're always disappointed with a new Tull album.

Philip Maddox (slurmsmckenzie@hotmail.com)

Ahhh, good old Jethro Tull. I don't think that there's a band out there than splits critcal opinion quite like Tull. There are people who think that only their albums up through Aqualung are worthwhile, there are people who think they didn't hit their stride until Thick As A Brick, and people who like a few albums from each era of the band. I'm going to just type out my comments on each Tull era (or at least what I think the eras are):

The really early years (This Was) - They hardly even sounded like Tull here. Mick and Ian wanted the band to go in separate directions. The album they produced was good, but it certainly doesn't sound like Tull as everyone know them. Tull as everyone knows them doesn't really start until...

The early years (Stand Up - Aqualung + Living In The Past) - Ian started to flex his muscles here, getting Abrahams out and starting to write more unique music. These albums are all pretty distinct, and I like all of them a lot, especially Stand Up (which is one of my all time favorites, and I'd give it that 15 you almost gave it). This evolved right into...

The extremely progged out yeares (Brick - Play) - Brick, with it's beautiful melodies and great lyrics, is my favorite album, period. An easy 15. Play wasn't a bad follow up (I'd give it somewhere between an overall 10 or 11), but it certainly didn't hit the majesty of Brick. Side 2 pretty much rocked, though, and I ADORE the "I am the overseer over you" bit. Side one kinda lagged, though. They gave up on the long song format and moved on to...

The prog-pop years (Warchild - Too Old) - Good years for the band. Warchild, though my least favorite Tull album of the seventies (for the same reasons you gave for it), has some good tunes regardless, and I dig it. I really like Minstrel, too, WAY more than the overall 7 you gave it (it's a 13 from me). I think the melodies and lyrics on that one are tops. Too Old is a good rock album and a highly underrated one by most people and hardcore Tull fans. As much as I loathe "Bad Eyed 'n' Loveless", it's a really good album, probably worth an overall 10, maybe an 11. After that, it's...

The folk-prog years (Songs - Horses) - With the exception of Brick, this is the prettiest music the group ever produced, and I like both of them a whole lot. Very, very pretty music. Great discs to pop in any old time.

Stormwatch - Doesn't fit into any particular era, but I like it's dark atmosphere and dark atmosphere, and "Dun Ringill" and "Elegy" are among my favorite Tull tracks. Unfortunately, it was time for...

Electro-Tull (A - Under Wraps) - Broadsword and the Beast had some fantastic melodies on it, despite its electronic nature, and in my opinion, ranks among Tull's best. Though it isn't all that good, I still like Under Wraps more than you, something like an overall 8 - some of the melodies, like on the title tracks, are good, but the electronics smothered it. And as for A... "Black Sunday" might be my favorite Tull song, and a couple of others are listenable, but most of this is nearly unlistenably crappy. Electronics and Tull wasn't quite a match made in heaven. Then, after a break, you get...

Generic hard rockin' Tull (Crest - Catfish) - I've never heard Crest, but Rock Island was, with a couple of mild exceptions, never really awful, but almost unforgivably boring. Catfish, although it was better and actually has a few decent tracks, isn't THAT much better. C'mon, generic hard rock? From JETHRO TULL? Who needs it? Not me. Now, though, I think we've got...

Comeback Tull (Roots - Dot Com) - Roots was, in my opinion, the best Tull album since Broadsword. By losing the generic hard rock and twidlling around like they used to, they made what I consider to be a pretty decent album, with a few great tunes on it. Dot Com, though, is one helluva comeback, because I really like it, possibly enough to give it a 12. The return of the melodies, Ian's voice is getting better, and the filler is at a minimum.

Well, that's about it. I'd recommend the outtakes album Nightcap if you ever see it, because the original draft of Passion Play is WAY better than the final product, and most of the outtakes on the second disc are better than the albums they were supposed to be on (despite a couple of less than stellar Broadsword outtakes). I might get to commenting more on the individual albums later, but that's all I've got time for now.

venkatanarayan ramasubramanian (stambi@yahoo.com)

I just wanted to say that you were being a bit harsh with the later stuff of jethro tull. I agree a 100% that under wraps and A were terrible terrible albums but I personally liked the mid-late 70's stuff that they did. I dont understand how you dont like budapest...i thought it was a masterpiece especially the flute section. Also, in crest of a knave, the flute sound became more refined and sounded clearer than it had ever sounded before. That's one reason I liked the album so much... I also liked roots to branches...there were some good arrangements on it e.g. beside myself!!

Finally I liked j-tull dot com..glad we agree on that.

The thing about hard core fans is that there is always one band you hold dear...and even if some stuff is mediocre or down right bullshit, you force yourself to like it!!

I noticed you liked master of puppets....I am a big fan of metallica too!!

David Koukol (dops@mail.com) (8/15/01)

I've been a Tull fan for 21 years and am also a person who loves friendly debate and a variety of opinions on subjects such as this. I've read your website with interest and, while I disagree with much of the content, I found it all the more interesting because of it.

I may be unusual for a Tull fan as I tend to prefer their later work over the earlier material. Oh, I love Stand Up, Thick As A Brick, Songs From The Wood, Heavy Horses, etc...but the stuff I listen to the most often is from 1987-the present.

I was just a kid (ten years old) in 1979 when I first heard the Songs From The Wood album and asked for it for my birthday. I don't recall exactly what my contemporaries were listening to (Kiss, I think) but I was certainly the odd one out. As I grew up, I eagerly purchased each new Tull album and saw them on tour - and the same holds true to this day - in fact I'm going to see them in concert next week as I write this on August 8, 2001. And yet Tull are not like the stuffed toy from my youth that I could never bring myself to throw away; Ian Anderson's writing has grown up with me, and I'm constantly amazed by the depth of invention and creativity he can still, produce, play, and record (Roots To Branches and Ian's recent solo album, The Secret Language of Birds, are masterpieces in my mind).

I've read pop cultural studies which claim that, for many people, favorite songs are those that they grew up with and a certain level of nostalgia is associated with people's tastes in these matters. Well, I discovered Tull early and while they are still my favorite band, my appreciation for their fresh material outstrips that which I feel for the albums I "grew up with." For me, Tull is not a band that is "Living in the Past," but rather living WITH the past while living IN the present...and the future. Dare I say it, but I look forward to the next album!

I realize that my opinions might be untypical (but not unique, as I have discovered), but I feel they are worth adding to the sampling of opinions herein. Keep up the good work with your website.

Rex M Ramsay (quietlistener@lycos.com) (8/21/01)

My comments about Jethro Tull would start out first by saying that if you want to know the bands' music never listen to reviews of someone that would call any of the albums or music, "garbage". How amusing to read your words about the band and yet you seem to profess to be a 'casual listener'.

Since following the group since 1972 I have to state that yes, I am a true Tull follower. However, it is the attempt to personalize, reflect and paint a musical storytelling that makes the music interesting to me and hardly what I would call garbage. Each album is in fact (at least up to Crest') an attempt to come up with a new sound different to the ones before. Does this mean that I would call each album a success? Well no and yes.

Regardless of the style of any given album, it could be given a 3 of 5 rating merely on originality, musicianship, and lyrics. A 4 or 5 rating would then be reserved for the ones or songs that have a sort of majic that sets them apart from the others in a clearly distinct way. Each album has at least 3 or 4 songs that would fit into this quailfier. Then the invidual listener is bound to have or be able to find an album that fits into a style of music that would be considered a favorite. Which albums do I not like or like the least? Well that would be 'A'. This was an album that was never intended to be a Tull work anyway. The real treat of the album is having Eddie Jobson on keyboards and violin.

I have never found it necessary to give up on any of the albums. In fact, the album that is always fascinating to listen to now and again is 'Under Wraps'. To readily dismiss this album is to miss some very interesting layering of instrumentation not found on any Tull efforts since.

My problem with the band since Crest' is that they have or seem to have developed a safe marketing formula that supplies or responds to the diversity of Tull listeners musical ears. It is a fact that Ian Anderson did some serious marketing research before the release of Crest'. Sort of a 'as fans, what is it that you like or want to hear'?

The musicianship continues to satify, the lyrics, the songs, can't really be faulted. But having listened to every album being totally different in sound to the previous ones, at least through Wraps', it would seem that a certain level of comfort has befallen the efforts since. To understand this is not to leave out the reality of the music buis' and the costs involved throughout the total process of production, sales, touring, etc... Not to mention the fact that Ian's voice has been forced to adapt to it's injury in 84'.

Treat every album as a unique attempt to reinvent itself. How many bands have done this or have even tried? It is perhaps the best fact about J-TULL that they really have never have played crappy music that could be called similar to any other music. To be able to enjoy their music means you have to develop a musical ear to hear what they are trying to accomplish. It's funny, but the same ear I have also allows me to be able to hear the nuances of the various musical styles that have influenced them and thus allowed me to appreciate those influences even more. ANY music that successfully peaks or challenges you cannot be considered garbage.

So, 'prick up your ears' my friend, before you 'rehearse your loudest cry'.

Steven Knowlton (knowstev@med.umich.edu) (10/19/01)

I find it hard to believe that Ian Anderson is richer than Paul McCartney, who regularly gives million pound donations to his favorite charities.

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

In general, I agree with you that Jethro Tull was a better band in the past than during their latter years. However, my love for their music extends a bit further ahead in time than yours -- well into the Heavy Horses album, in fact. By the way -- just so you know -- "anyway" is not a word. Please don't take that remark too personally. I'm just a stickler for that sort of thing. Also, I think that rating an album with a number is ridiculous. Your text is detailed and opinionated enough to not require a general numeral rating, which is a futile, utterly subjective item.

Thomas Griffiths Wainewright (gavemegasoline@earthlink.net) (3/25/03)

I find this band completely exasperating. I don't like Prog Rock, I wasn't alive when they were productive, but every once in a while I develop a fascination with them, in part because they were just so fucking weird, in part because, as you say, they started out SO great and then began to suck SO bad. One actually starts to feel a bit betrayed. Here's four random thoughts on this eternal puzzle.

1)Tull is an idiotic band. Has been since they started doing impersonations (Too Old to Rock and Roll, SONGS FROM the WOOD [which is fun, BUT...])

2) All the music produced up until, say, '73 is great. The band feels alive. LIVING IN THE PAST is tremendous, because you realize that before Ian tried to say so much, he actually had a lot to say (Alive and Well, Nursie, Singing all Day). The hooks are great, and they were generally an amazing singles band and an amazing blues/fusion band. And the production on their singles was much better than the production on those early albums, which is always either flat (Aqualung & the concept albums) or soupy (Stand up)

3) And then somehow Anderson just lost his way. Talent flared out, I don't know . The rot starts to set in around Aqualung, and everything's gone with TOO OLD, because this is where Ian's imagination just bottoms out altogether. From there on in, it's just impersonations of this style or that, observations on this trend or that (environmentalism, farm subsidies, .COM [please]), posture-striking of this sort or that (Country Squire, Rock Star, Gremlin, SPY for chrissake), all combined with that irritating willingess, visible from Aqualung on, to reduce ANYTHING (train rides, crossword puzzles, circuses, BLAH BLAH BLAH) to a facile metaphor for life itself. This is actually why I like Minstrel--it's just nakedly, honestly bitter. What a relief. A personal voice. Haven't heard that since the acoustic cuts on Aqualung.

4) You can also track the band's decline via the thinning of IA's voice and IA's hair. And the decline of his visual invention. Teasing your hair and Wearing a plaid overcoat over tights and a codpiece is weird & cool and Rock & Roll: like some kind of homeless/Jesus/minstrel thing . Dressing yourself like you're out of a renaissance fair is just lame.

5) Preferred albums for me would be LIVING IN THE PAST, The Carnegie Hall concert, one particular bootleg from '68 with Martin's Tune on it, and --strangely--the Chateau D'Isaster recording, which would have sounded just as lousy as Passion Play if they'd actually finished it back then. It sounds vast and symphonic now because by the time he released it Anderson had discovered reverb. Also because he's not SINGING--and here's what you realize when you listen to it: the longer the band went on, the more Anderson started to write vocal lines in terms of his instrument; so what sounds magisterial when played on flute on NIGHTCAP just sounds crap when sung on Passion Play

there you go, for what it's worth. I'm going back to my White Stripes album now.

-Tom Wainewright.

Howard (benetth@telus.net) (5/20/04)

Best song writer is his time. His singing...well...I got used to it.

Howard Bennett
Vancouver

andreascg@aol.com (12/31/05)

I'm not knocking Ian Anderson AT ALL, let me clarify, but I would like to point out that, while Ian Anderson's flute playing is very innovative in the context of a rock band, the style and many of the "shtick", such as vocalizing thru the flute, are actually copying what was done earlier by the great Rahsaan Roland Kirk.  I'm sure Ian Anderson is a fan of Kirk's, especially since Tull covered "Serenade to a Cuckoo".  Anyone who appreciates Ian Anderson's flute playing should check out Rahsaan Roland Kirk.  On the album "I Talk to the Spirits" he plays only flute (he was also a great sax player) and you can compare his version of "Serenade".

rudge rodgers (rudgeraok@yahoo.com) (06/07/07)

jethro tull is one of the longest running rock'n'roll bands ever. I pass up Rolling Stones concerts right and left but rarely miss Jethro Tull when they come to town.  Long live Ian Anderson.

rosemary@ca.inter.net (09/13/2009)

I am 51 years old woman, have been a Tull fan since 1969-70. I grew up in Windsor, Ontario, heard Tull on a Detroit rock station , Wheels, I think, fell in love with the music 5 notes in. Favourite Song has to be "Warchild", but I also love "The Third Hurrah", "Beethoven's 9th" right through the current stuff. Bought Thick as a Brick and Passion Play even when I couldn't afford them. Fell in love with Ian Anderson's looks, voice and accent...no small wonder my current partner looks and sounds like him, too. Though Tull came to Detroit, my eastern European parents forbade me to go to any of his concerts. I locked myself in my bedroom one weekend and swore to my folks that I would see Tull perform live before I died. Meanwhile, moved to Toronto. My 50th birthday gift to myself was a ticket to see Tull perform at Massey Hall, Toronto, in November 2007. I got the second last ticket in the house! Tull performed to a full house, all ardent, even closet, fans. It was a night I never wanted to end. On the drive home to Newmarket, I popped in my Thick as a Brick CD in my car player, drove up Hwy 404 home to Newmarket. The last note faded just as I pulled into my driveway at midnight. "Now I can die happy," I said to no one in particular. My 3 teen sons bought me a Tull DVD for my 50th birthday -- the best present, EVER! "Warchild" is the first song I copy to every MP3 player I own, I play that song almost every day of my life. I will love Tull until the day I die.

"WaterTech" (steve@watertechcapital.com) (07/13/10)

I grew up on the rock and roll of the early 70's and Jethro Tull is one of the most underrated and potentially could have been one of the mega bands commercially if not for the 'different' sound which, in my opinion, was ahead of the time. Listen to the Benefit album start to finish. It is a remarkable piece of work.

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This Was - 1968 Chrysalis
7 (10)

Best song: Beggar's Farm

Send me your thoughts

bsitting@mail.math.ucsb.edu (2/19/03)

An entertaining debut! None of these tracks sound bad at all, though one can immediately see that Jethro Tull couldn't just stay restrained to the blues forever. "My Sunday Feeling", "Beggar's Farm", and the very jazzy "A Seranade to a Cookoo" are my highlights from this album. 8(11)

---

Stand Up - 1969 Chrysalis
9 (14)

Best song: Bouree

Send me your thoughts

Thought09@aol.com

This album is vastly underrated, agreed. However, I got a copy of a '1969 - the greatest year in rock' guitar magazine from '99 and stand up was one of the 15 or so albums they praised. In fact, it tells this little story of how this guy came up to Ian at a tull concert freaking out about how he listens to stand up every night before he goes on stage and stuff....Ian at the time just thought he was some crazed freak, but it turned out to be Eddie Vedder of Pearl Jam!! Quite entertaining that was. Anyway, Stand Up is definately my fav Tull album by far and is prob. in my top 20 albums of all time...

Daniel

Clmnts5@aol.com

It did my heart good to see somebody recognize the beautiful Stand Up. My favorite album of the late 60s - early 70s and one of the best ever, I think. Tull's best WITHOUT QUESTION, in my mind.

Kathy Fisher (klfisher@webtv.net) (9/10/01) Till this day I still keep a tape of Stand-Up in the car to put meself in the right frame of mind. I find the music keeps me from gettin out the car and clobberin someone! Know what I mean? Right,knew you would.

ALPH1217@aol.com (1/28/02)

John:

Couldn't agree with you more regarding this absolute gem of an album. Although the early seventies were the height of Tulls popularity with Aqualung and Thick As A Brick enormously well received, this record is the best work Ian has ever come up with in my opinion. I've spent endless hours all through the years listening to this band and can readily proclaim myself as a 'hard core fan'. This does not mean however that I've enjoyed everything I've heard. Like any other group they don't always get things right. Nevertheless Ian's song writing and durability all through the years never ceases to amaze me.

I enjoy reading your reviews . . agree with you on some things, disagree on others but what the hell!

Cheers,

ALPH

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

I completely agree with you. This is an underrated, absolutely gorgeous album. However, if you listened a little closer to "Reasons For Waiting," you wouldn't say it sounded nearly identical to ANY other tune (even its very tempo is unique on the album). How some people can listen (on purpose, even) to Bob Dylan and not consider this superior band's superior '69 album an absolute, definitive '60s classic is beyond me.

bsitting@mail.math.ucsb.edu (8/27/02)

Before I read yours and George's review for this album, all I knew is it won Best Album cover for some magazine that year. But, the album itself... is good! I knew I was in for a treat when I heard "A New Day Yesterday". The riff is killer, and the drums just bash away! Sometimes in the past, I'd hear "Bouree" here and there. But, hearing it here, it made me realize how much energy was in that track! I could comment on every song here, but for brevity, all the 'rockers' have something special to offer, and the acoustic ballads are actuall memorable to me. This is a surprise for me! 10(14) it is!!

NOTE: To sweaten the pill further, the newer edition contains four singles from that era, including "Sweet Dream" and "Living in the Past". Now, we're talking!

Greg.Goldman@ci.austin.tx.us (5/15/05)

Thank you John for turning me on to this album after years of writing off Tull. I know everyone loves 'Bouree' but my vote for best track is 'We Used to Know' while my favorite extra track is 'Sweet Dream.'

I have gotten used to Ian's voice now in the same way I got used to Hendrix's - it's a process of gradual accommodation. Now is sounds authoritative and commanding and makes the tracks sound more epic.

Jason Kuykendall (tullite@yahoo.com) (6/11/2005)

Sorry man, but to a true enthusiast you come across as musically trite.  Had to stop reading at SU, because you praised the stale FM classics and failed to exalt the living beauty that is We Used To Know

Trfesok@aol.com (01/30/07)

Agreed, really, really good. Diverse, intelligent music. Actually, I think the least interesting ones are two that you think rule -- "A New Day Yesterday" and "Nothing is Easy." These two are pretty popular and turn up on a lot of anthologies, but while they're nice enough, I think they are less innovative and interesting than the other songs. "Bouree" is pretty fun and amusing, and "Fat Man" sounds Indian without actually using any Indian instruments. Bongos, mandolin and flute carry the song. The one that pushed me to get it was "Look into the Sun," which actually used to turn up on radio every once in a while around here. A totally gorgeous ballad that I have to play more than once whenever I play the album. The rest is all really nice, too. Not an unlistenable filler track in the bunch.

  I have the remaster with the four single sides, which is the only place that you can find all of these, now that the Living in the Past and 20 Years Of.. collections have disappeared. They don't really fit in, but no one can deny that "Living in the Past" and "Sweet Dream" are classic songs. "Driving Song" sounds like Ian was already sick of touring by that point. "17" seems to be a reminiscence of a teenage romance, but is far less melodic than all of the other songs on the CD.

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Benefit - 1970 Chrysalis
7 (10)

Best song: Teacher

Send me your thoughts

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

I agree that it's not as good as Stand Up!, and that the best song is "Teacher." That riff's a hell of a lot better than "Aqualung"'s Beethoven-like intro. I think "Inside" is terrific, however, and "For Michael Collins, Jeffrey and Me" deserves your extra attention. Try listening to it ouside the context of the rest of the LP. Its verses are lovely -- poignant, even -- and its chorus is pretty damn catchy. It's about Ian wanting to be in the LEM spacecraft during the first moon landing (a staged event, if you ask me, but that's a different topic). Michael Collins is the astronaut who had to stay in the Module when the others were out jumping around. Jeffrey is Ian's old friend and Tull's future bass player (1971-75, I think).

bsitting@mail.math.ucsb.edu (2/19/03)

Apart from the excessive psychedelic noises in the middle of "Play in Time", nothing is particually bad here. BUT, that doesn't mean that everything else comes out smelling like roses. Enough cliches, much of this album I can't recall to save the life of me! From the proper album itself, only "With You There to Help Me" and "To Cry You a Song" I can remember, and both of these are quite good. The first song has a nice atmosphere about it (partly due to the way Ian Anderson plays the flute), though a tad long (like many songs on this album. That's what primarily mars "Nothing to Say". I'll avoid any obvious puns here.). "To Cry You a Song" has a good overall structure, nice riff based on what I think are triplets.The six minute running time doesn't bother me either this time.

Special mention should go to (three of the four) additional tracks. These are more memorable (and possibly better) than the entire album itself! I like the light-hearted way "Singing All Day" goes about. It's hummable, unlike some other stuff earlier. "Witche's Promise" is another nice folkish piece. Finally, there's "Teacher". Though it may be not my favorite Tull song, it's up there somewhere (too bad it's not on "Original Masters"!). With these tracks included, this is about a 7(10), maybe a low 11.

KiddAbout@aol.com (05/13/10)

This was the album that got me into Tull. Yeah, I heard Aqualung and Songs From The Wood before this, but it wasn't until hearing Benefit that I became a Tullhead. Looking back, I don't consider it as good as the aforementioned two albums or Thick As A Brick or even Stand Up, and the reasons were similar to the points you made. On my first go on the album, I almost fell asleep on the first track ("With You There To Help Me") for Gerald's sake! Eventually, the songs finally sank in (much faster than on Passion Play and Minstrel anyway) and now dukes it out with Warchild and Too Old To Rock And Roll: Too Young To Die! for a spot in my top 5 Tull.

I'd like to jump to the defense for "Sossity; You're A Woman"; that one registered in my head faster than about half of the other tracks on my first go. It's one of the most beautiful songs Ian penned and - along with a lot of the other tracks on here - sowed the seeds of Ian's talent as a lyricist, which fully blossomed on Aqualung and Thick As A Brick. I'd also like to defend "Play In Time"; in my opinion, I think the backwards guitar noises rule and the quote of the intro to Dvorak's "New World Symphony" (known for being the basis of the Jaws theme) adds to the weirdness.

I do admit that...

a) Anderson perfected the ideas on Benefit when he wrote the songs for Aqualung. And yes, there was a point where I though Benefit was the better album because Aqualung was more commercial....yeah, real smart thinking >_>...

b) The bonus tracks on the 2001 edition gives this album a much needed shot in the arm. While the previous two albums could hold out on their own, the presence of "Teacher", "Witches Promise" and "Just Trying To Be" gives the listener some much needed breathing room (assuming you assimilate them into the main album first).

So, here's my final ratings (based on your scale).....

Original: 7(10)
2001 Edition: 8(12)

Best Tracks: "With You There To Help Me", "Son", "To Cry You A Song", "A Time For Everything?", "Play In Time", "Sossity; You're A Woman", "Witches Promise", "Just Trying To Be", "Teacher".

---

Nothing Is Easy - Live At The Isle Of WIght 1970 - 2004 Eagle
7 (11)

Best song: My God

Send me your thoughts

Nick Pulliam (nickpulliam@resonetics.com) (03/12/06)

I think it was still Clive Bunker who inserted the offensive drum solo at this point in Tull's career. I agree with your review though on every other point.

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Aqualung - 1971 Chrysalis
9 (13)

Best song: Locomotive Breath

Send me your thoughts

RHennHouse@aol.com

Cheap Day Return, Wond'ring Aloud, and Slipstream space fillers?! Where I used to think Locomotive Breath and Aqualung and Hymn 43 were the best on this album, after listening to it for the last 29 years, I've learned that the acoustic songs are what really make Ian Anderson the best songwriter. That I know of, anyway. For someone to think that those songs are fillers is really missing out. I believe even Ian called them fillers when the album came out, but I think he knew better and is very proud of them.

(author's note): Well, I didn't call them 'filler', per se. But I don't think anybody would want to say that they are "primary" material on the album. They're quite pretty, and very well-written, but there is little question that they mostly serve as "plot-setters" for the "main" songs.

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

I agree that saying something is "too accessible" is pretentious, irrelevant, and in fact restrictive to the extent of being non-musical. However, your apparent dismissal of anything and everything that endeavors to be progressive or artistic beyond mere catchiness could be construed as equally limiting.

(author's note): This can only be a possible interpretation if this is the only one of my pages you read. Let it be yelled out loud and clear that I LOVE well-done progressive rock. It just so happens that, and I'm serious here, I consider most of Tull's progressive efforts to be mediocre at best and unlistenable at worst. Prog-rock can be incredibly good, but most of Tull's efforts in this department (aside from Brick) are not sufficiently engaging as to keep my attention.

The most moving songs on this album are "Mother Goose," "Up To Me" and "Wind-Up." If only the production (surprisingly not much improved in the '98 remaster) were decent. The material's consistently fantastic, but the sound quality's awful. Ian's dry, high-end vocal sound and the too-quiet level of the "Wind-Up" intro are just two instances of Island Studios' shortcomings. Could you imagine this album with the sound quality of (the Ian-produced) Benefit? WOWZERS! The three acoustic "links," as you call them, are lovely and shouldn't be discounted just because they're not super-long. I'd rather hear these short interludes than "Aqualung" or "Locomotive Breath" anytime. (Face it -- they're the closest we get to the Stand Up! motifs.)

bsitting@mail.math.ucsb.edu (8/27/02)

For some reason, I don't enjoy this album nearly as much as I should. Pretty much from start to finish, the songs are very solid. And, of course, the classics (Aqualung, Cross-Eyed Mary, and Locomotive Breath) are well deserved of their status. Perhaps, it's that none of the other songs blow me away as the aforementioned do (Wind-Up gets close, though). At any rate, this album gets a low to solid 9 out of 10.

Paige Anderson (paigea@silcom.com) (11/17/03)

In my humble opinion, Aqualung is not only the best effort put forth by Tull, it is one of the best rock albums of all time. For me, Aqualung represented a dramatic change in the bands direction. Stand Up, This Was and benefit are pretty much all alike. With the entry of Aqualung, we see Tull at it's very best. It was a brief moment of brilliance from the mind of Ian Anderson. Despite Ian's denial that it is a "concept" album, I am convinced that it turned out that way...even if by accident. There is not a single song on this album that is bad. I am in the habit of listening to it only in the order for which it was originally presented. As far as the acoustic songs go...they are critically important to the overall tone of the presentation. The juxtaposition of the lighter songs book-ended by the more popular "heavy" material is (in my opinion) a purposeful move on the part of Ian. By far, the most brilliant cut from the album is "My God." It is like a concerto of beautiful sounds and meaningful lyrics...it is a masterpiece of music. The flute section in the middle with the choir in the background is absolutely the high point of the offering. Listen to it on headphones and tell me that this is not a stroke of musical genius. The way this section moves back into the song never fails to move me. I do not consider Jethro Tull a true "progressive" rock band. In fact, I think that they defy definition. They were and still are one of the most original bands in rock history.

Trfesok@aol.com (09/29/07)

Certainly, Ian was starting to get darker on the last album, and now he goes full tilt. It's a good thing that he balanced it with the lighter acoustic stuff. Still, the sense of humor that showed up earlier ("Fat Man") and later (the next album) is pretty much absent. "Hymn 43" is the angriest one -- and they released it as a single! How could they think a song with lyrics like "If Jesus saves/then he better save Himself/from the gory glory-seekers/that use His name in death." would make the Top 40? But it's great. Nowadays, though, there are several Tull albums that  I'd rather listen to.

  I also have the remaster, and it does, unfortunately, emphasize the fact that the album wasn't really recorded well in the first place. As bonuses, there are three BBC tracks from the This Was and Stand Up periods; an OK album outtake called "Lick Your Fingers Clean" which I think is way overrated by fans; and an alternate version of "Wind Up" that was originally on the quadraphonic LP. It's not as good as the original, with a cruder production and Ian singing them in a register too high for himself.

A couple of remixes also have shown up elsewhere. The MU collection has a remix of the title track with the distortion removed from Ian's vocal on the acoustic bridge, which makes the track less annoying. The 25th Anniversary Box also has a mix of "Cross-Eyed Mary" was does the typically irritating 90's thing of adding reverb to the drums and bringing them forward. In this case, though, that's done at the expense of the very cool flute/piano/mellotron arrangement.

  Oh, and the remaster also has 13 minute interview with Ian about the making of the album. He doesn't discuss the lyrical content, though, which is a shame. He also says that he thinks that "Budapest" is a better example of Jethro Tull than anything on this album! Bet you like that!

  Bob 

---

*Thick as a Brick - 1972 Chrysalis*
10 (14)

Best song: heh

Send me your thoughts

Robert Grazer (xeernoflax@jack-the-ripper.com)

Good. Flows perfectly from start to finish.

BEST TRACK: To my knowledge this is going to be the only album on here that defies my formula. On sing song forty-five minutes and thirty-six seconds long, and I love long songs. I don't really know how to comment on this, it's just so good. Even the fact that I don't much care for Jethro Tull can't stop the fact that this is an absolute masterpiece. My favorite part probably starts at the "Let me tell you the tale of your life," and ends with the song. It;s good throughout the entire thing, leaving little to be desired.

COMPLAINTS: None really....I wish the gap in the middle wasn't ther but I guess that was unavoidable.

RATING: My Scale: ****** John McFerrin's Scale *10(15)*

Thought09@aol.com

What a good example of intellect in rock. Wow. This album blows the mind. I don't especially like the turn Tull took here towards a more synthy sound, but somehow thoughout most of the album the music keeps you interested. There are parts (musically, mostly) I don't like as much, in fact that can get outright boring, but the great bits by far make up for it.....I especially the 'so where the hell was biggles' bit. There was this dude I met last year while on a travel study trip to Japan that was your typical 'gen-x culture is all that matters to me' type guy and he openly admitted to not liking most of the music of the baby boomers. To my amazement though he started humming part of TAAB!!!! I asked him about it and he said that some of his older coworkers would play TAAB on the job and he found that he actually really liked it. I'm sure it was Ian's great thought provoking lyrics that did the trick for him.

TheRubberCow@aol.com (1/01/02)

Yes, oh, yes.  I was blown away by this album when I got it when after hearing the 5 minute version on the radio I saw that it was all one song.  But when I got it home and listened to it, it surpassed my already high expectation.  I knew they were good, since my parents' had played their greatest hits (M.U. - The Best of Jethro Tull), but I had no idea they were so intelligent!  I know a lot of this was due to Anderson's writing, but you are right about the band sounding very tight.  Some sections remind me of Supper's Ready, like the electric piano part somewhere near the first stretches (can't remember exactly where), and,  that flute solo at the 37 minute mark is actually a lute.  How cool!

bsitting@mail.math.ucsb.edu (8/27/02)

Since last summer or so, I had essentially most of the essential (and well- reputed) prog albums from the 'principal' prog groups: Yes, Genesis, and King Crimson (plus "Aqualung" from Jethro Tull). But, the sheer length of this album scared the living daylights out of me. 20-minute epics are work enough! Oh well, fast forward to this last Spring. I FINALLY bought this 'bloated' behomath. It was intriguing from the start (I loved the first half almost immediately).

Now, with the exception of the notorious beginning of the second half, this piece rules! Let me explain. All the segments, save the 'Zappaesque' section, have some sort of catchiness going on, be it the meoldy, or the instrumentation which is often quite fast and furious, yet tight as a thistle. The "Poet and the Painter" and "Do You Believe" sections are especially beautiful. Jeffrey Hammonds' baselines are extraordinary throughout, especially in the "I've come down from the upper class" section.

Finally, the booklet itself is the other half of the fun. They spent more time on this than the music!? However, it very well adds cohesion to the entire 'concept'. And my edition of the CD has a live adbridged version of the (title) track which burns even more than the studio version, as well as an interview with the band on the making of this album, filled with hilarious stories.

Due to the one 'bad' section which still hurts my ears, I can't give this a ten, but a 9(14) it is! (Almost tied with "Stand Up" as my favorite/best Jethro Tull album.)

Ken D'Angelo (vze2m7hi@verizon.net) (10/08/02)

Making a song continuous like Jethro Tull did with Thick As A Brick is just amazing.  Ian Anderson, Martin Barre, and Jeffrey Hammond did a fantastic job.  I find some of the lyrics hard to understand, for example, your sperm's in the gutter, your love's in the sink.  However, the song sounds great since everyone gets their turn to play their instruments and no one can play a flute like Ian Anderson.

Trfesok@aol.com (03/17/07)

I guess that I have to concede that Tull reached its peak here. My latest listen was straight through, via headphones, and it's still amazing. I do think that you underrate Barlow on this album -- his "solo"in the second half actually had flute and chimes overdubbed on top, so it becomes more listenable. You can really appreciate his playing on this album.  Evans' playing on his Hammond organ is also underrated, I think.  Otherwise, no real disagreement -- an essential prog album.

  The remastered version also has a 12-minute live version from 1978 - sort of a "highlights" of TAAB.  Although you could argue which sections they should have left in (I miss the "Where the hell was Biggles.." part), it's still good. There's also an interview with Ian, Martin and Jeffrey, where the talk about the music and the album art. Very entertaining.

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Living In The Past - 1972 Chrysalis
9 (12)

Best song: Witches Promise

Send me your thoughts

TheRubberCow@aol.com (1/01/02)

Wow.  I cannot believe no one has commented on this one yet.  A great album.  Kind of their Physical Graffiti, but almost have more respect for this one: although I do agree with you Side Three, there is almost no song on here that don't love immensely.  I think  my favorite is probably "Love Story", "A Christmas Song" and one that I have recently starting liking a lot more, "Life Is A Long Song".  I don't know if it's the melody or the way it builds or what (it seems to build differently than your average builind song, rather than going from very soft to very big, it starts at a moderately gentle level and just builds to a sort of comfortably strong mezzo-forte, and I think that's cool).....could just be the way it sounds in general.  And then there's so many other good songs on there like "Dr. Bogenbroom" and some others that you have mentioned......I could go on about them all.  A ! very impressive album; always stunning to listen to.

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

How you could fail to mention "Life Is a Long Song," one of Tull's greatest ever, is beyond me, but we agree on the merits of "Witch's Promise."

Michael Gray (michael.gray@gza.com) (04/29/08)

Although this song is not on every version of the album that was released, "Wondering Again" is both rare and as close to a signature Tull song as you get.  The acoustic arrangement, the very beautiful and introspective lyrics (which have also stood the test of time), and the Ian Anderson vocal that is melodically one of the band's best.  The only thing it lacks in connection to signature Tull is a flute part; however, the song is more spare and honest without.  This song stands out for them even on this greatest hits album. 

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A Passion Play - 1973 Chrysalis
6 (9)

Best song: ...

Send me your thoughts

TheRubberCow@aol.com (1/01/02)

The Lamb is tough competition, and I don't think it comes very close, but I don't think this is that much worse than Thick As a Brick.  I'm not too picky about sounds in general when it comes to the 70's, so I don't have a problem with the synths, and I'm just happy to hear intelligent music with synths in it, or I guess I should say, more intelligent music with synths, just in case you were thinking of making better recommendations that I already have listened to a million times.  I actually like what they do to the sound in the part after the story, (and in the story after "....a bee...") when the acoustic guitar comes in and those soft pad/leads are playing and panning around it.....it makes me picture a sunny field of daisies from the 70's.  I don't really see what people are talking about with the last 15 minutes either.  I think it's the most boring part.  But possibly my favorit! e is the part that was extracted as a "single" for the M.U. comilation, the part that starts with "Colors I've none - dark or light, red, white or blue."  I'll tell you, getting that song stuck in my head from hearing my parents listen to that greatest hits and going through it in my head while cutting the grass must have done a lot for my comositional appreciation and writing influence....it was easily the first progressive thing I had been exposed to besides the jazz-fusion of Jeff Beck, and it is some very intelligent writing and arranging.

ALPH1217@aol.com (2/05/02)

Your rating for this album might actually be a bit too generous! I can remember purchasing the record in 1973 with eager anticipation only to be let down enormously. Although it indeed went to number one on the charts (on the coat tails of the previous albums) it did not capture the imagination of the buying public who were expecting so much more. Saxophones, synthesizers, weird lyrics, uncanny starts and stoppages  . . . phew!! Repeated listenings didn't help any and the music critics were unmerciful as I recall. It's worth mentioning that no part of this particular album has been played in the live set for many many years which speaks volumes. This was a clunker.

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

WHAT?!?? You people don't have very open ears. This is an adventurous drama of music that changes tempo and melody before you can really grab any "hooks," which strikes me as a brilliant way of pulling off a monstrous project like this. The story about how humans are not meant to be either purely good or purely evil is wonderful (your comment "or something" goes to show how little you really listened to this album); and this is one of those albums that, once you've listened to it maybe three times, hurdles past its "weird" effect and becomes incredibly addictive. "Progressive Rock" or any such label is immaterial to me; it's just good music. Granted, this one's not as immediately accessible as, say, "Teacher," but remember, you yourself said...ah, never mind. Now for something you won't like: Genesis has always been mind-bogglingly dull.

bsitting@mail.math.ucsb.edu (9/02/03)

This is a tough album to talk about. After my initial listen, I was left quite bored, having purchased this a few weeks after "Nightcap". The captivating jams in the "Chateau" tapes seemed absolutely devoid of fire when presented here. And, there was a sax (and synths!). But, I've listened to this enough times until I can see some sort of overall view of the entire work.

And, I must admit that though this is a drop from TAAB, it wasn't as much as I initially thought. The sax brought an interesting flavor to the proceedings. As for the occasional synths, they are a bit unnecessary (stick to the organ/piano!). Although perhaps unsatisfying as a whole, unlike TAAB, most of the music here is at least good. Most of the second side is very good, though not the best of Tull's history. And, I have grown to like some of side one, once the shock after listening to "Nightcap" wore off a bit (especially, the beginning jam, and "the lovers of the black and white" sections). Much of this probably has to do with Jeffrey Hammond's base playing (much more prevalent here than on "Nightcap"). Oh, and his "Hare" story is quite amusing!

As for the ending, it definitely does not tie things together after a few really good sections before hand. But, maybe it ends that way, as one doesn't know what the eventual fate of the character (with his new life, if I understand the 'story'...). That's my theory if there is any justifiable reason for the "puttering out" ending.

Rating: This is tough! In sections, much of this works, but many of the transitions are very rough or even a bit artificial to my ears. And there are melodies, though nowhere as striking as those on TAAB overall: 7(11).

Jack King (jack@cfl.rr.com) (1/08/04)

Hello,

I have been a Tull fan for the past 33 years.

It is my opinion, The Passion Concert was the best show they ever did. I can understand most folks being luke warm towards the recording. But many who saw the show can appreciate the record in a unique and wonderful way.

Jack

Langas de los Langas (putolangas@hotmail.com) (7/21/05)

Take my advice: keep listening to 'A Passion Play'. Give it a try, then another one, and yet another one. For a long time I HATED it (partly because I was expecting another 'Thick as a Brick', I guess), and now I consider it one of Tull's most brilliant and underrated works. It's extremely dark and hard to listen, but it deserves extra attention (the instrumental intro may be my favourite Tull moment, tied with another instrumental passage in 'Brick'). If you don't get to like it, then... I guess it's not suitable for everyone.

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Warchild - 1974 Chrysalis
6 (9)

Best song: Bungle in the Jungle

Send me your thoughts

Richard Savill (dreklind@btinternet.com)

Warchild is high point for Jethro Tull. The fact the CD is currently out-of print shows that I am clearly in the minority-that's okay. I still like it.

I believe you are far too critical towards this album; I agree it really is rebellious towards living in modern society. But isn't Tull always throwing dirt at this or that? Most of their songs seem to have been written from the point of view of what happens to people when they get stuck in grubby 'boys only' schools.

This album though has a great line/theme:

Warchild, dance the day and dance the night away.

If these words don't mean anything to you, then this album won't interest you.

My father was a child during the blitz of London. A warchild himself. Children who experience the war become outsiders and misfits when they grow to adulthood. They never escape the bonds of war throughout their life. Thus he consoles himself with every war movie that comes on television. The memories of war seem to fill his character. I think he's gone nuts in fact. He hates me because I've never condoned his nationalist, racist and other extreme right wing views. Most people would consider him a dinosaur. I would agree that he is.

He could never take the advice Jethro Tull seems to offer in these songs.

I am fascinated by the way this album seems to capture the day in the life of post-war people. The theme is certainly not tight and I don't think it was meant to be. The long guitar solos in Back Door Angels caused my younger brothers to turn their heads, refusing to believe that it was an old Jethro Tull album.

Oh well, I accept your taste and I do see where you are coming from, but sheesh to use the word 'crap' in your review is really inexcusable.

(author's note): Fine, it's been replaced with 'garbage'. The sentiment remains the same.

TheRubberCow@aol.com (1/01/02)

I like Richard Savill's review better.  The Third Horrah is a very joyous romp!   And you do like the classic, "Skating Away" but failed to mention that one it's best attributes is how it keeps adding instruments every other line until it is has I think 9,000 instruments in there, all played by Ian Anderson.  Though I might be somewhere in between you two on this one: I will admit that some of the songs are a little generic-tull sounding.  But there is some good stuff on here.

Nick Pulliam (nickpulliam@resonetics.com) (11/13/02)

Love your site,

  Your Warchildreview has one glaring inaccuracey that I thought I would mention before a real Tull nut sees it and goes ape. The song "Solitaire" was actually recorded before a Passion Play during the infamous Chateau Disaster sessions. Ian was still the critic's darling at that point and consequently left with no axe to grind. Your overall review for this album is on target except you short change the Third Hurrah, one of the best songs on the disk, IMHO.

Best Regards,

  Nick Pulliam

bsitting@mail.math.ucsb.edu (9/02/03)

I can definitely tell this was made after APP. But, the song topics are often more whimsical (thank goodness!) and the songs are shorter. The songs overall aren't as melodic as TAAB and back, but most still are enjoyable to listen to (after expecting the sax and accordion) though not quite as memorable overall. Only "Back Door Angels" strikes me as truly bad, with its very jarring (musically) lyric section and a rather pointless jam. I enjoy the 'hits' from this album, along with "Queen and Country" even! Rating: 7(10).

Notes: 1)Apparently even "Bungle in the Jungle" dates back from the "Chateau" sessions, according to Ian's liner notes.

2)Also, having obtained the remastered edition, this also has some bonus tracks including "Paradise Steakhouse", "Sealion 2", "Quartet" (these I've already commented on with "Nightcap"), "Warchild Waltz" (ok), "Rainbow Blues" (a pretty good track from the old "MU" compilation).

Trfesok@aol.com (04/29/08)

If APP wasn't enough to convince people that the crash and burn of Chateau D'isaster had discombobulated Ian's melodic sense, then just have them compare the 4 tracks here that predated APP ("Skating Away..", "Bungle..", "Two Fingers", "Only Solitaire") with the rest of this stuff.  The first five tracks mostly lack catchiness and fun, seeming like pointless rambling. Plus Ian continued to use his discordant, annoying sax in the arrangements. Yuck.   I do like  the Celtic-jig style "Third Hoorah", a lot more upbeat and interesting than the title track. "Two Fingers" is actually a rework of an Aqualung outtake called "Lick Your Fingers Clean". Although most people seem to think this version is inferior, I like it better. It's less jokey, flows better and rocks harder. And ("Skating Away..", "Bungle.." and "Only Solitaire" further prove that Ian made a serious mistake when scrapping Chateau D'isaster.  Still, having to dredge up old material  for half of the album indicates that Ian had a ways to go before he'd recover.

  With the exception of "Warchild Waltz", all of the bonus tracks had previously made it to various collections. "Quartet"  is sort of an interesting "variations on a theme" sort of instrumental. However, I can't stand the alternate version of "Sealion", another bit of stupidness along the lines of "The Hare Who Lost His Spectacles."  "Saturation" (from 20 Years of..) would have, unfortunately, fit right in the first half of the album, sharing the same lack of coherence.  On the other hand, "Rainbow Blues" and "Glory Row" (from the second Best of.., called Repeat), are strong mid-tempo rockers that would have been a lot better than "Back Door Angels" and the title song. The latter also has sax playing better than any of the album tracks. Excluding them from the album was yet more evidence that Ian's musical judgement was still impaired at the time.

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Minstrel in the Gallery - 1975 Chrysalis
4 (7)

Best song: Minstrel in the Gallery

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TheRubberCow@aol.com (1/01/02)

Well, I am not offended by your review in general; you are entitled to your own opinion, and it sounds like you will never like this album.  The only thing that is offensive is that you say one would only need this album if you judge off of complexity alone.  I think there is much more to this album than complexity.  I guess I hear melodies that you don't.  "One White Duck" and the main part of "Baker St. Muse" are stuck in my for the whole rest of the day any time I listen to this album.  Granted, I don't like it as much as Thick As a Brick, but I think it's a damn good album.

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

WHAT???!!!??? This album's beautiful, hard-rocking, poetic, fantastic...everything "Too Old..." is NOT. The "Little Light Music" rendition of "One White Duck" is better than this version with its strange vocal effects, but other than that, I just can't get enough of this masterpiece album. For you to suggest that "One White Duck" has "no semblance of melody" simply means that you've never given it a chance, or maybe, indeed, that you haven't listened to it more than once, so maybe I'm being too hard on you. But at least give "Cold Wind To Valhalla" two or three listens, forgetting for the moment about what might be, for you, the overwhelming musicality of the other stuff, like "Baker St. Muse" (maybe you have to be a composer to appreciate some of this stuff...not that I'm much for ego, but this is definitely Tull music for those who might've outgrown the ordinary).

bsitting@mail.math.ucsb.edu (9/02/03)

Prog. rock with Elizabethan overtones sure sounds intriguing, at least on paper. But, there are even fewer melodies on this album than the last two subtracted (instead of combined)! This includes the title track (which despite that, I still enjoy) and "Cold Wind to Valhalla" (still an okay song). After that things get more interesting. Other than "Black Satin Dancer" containing a nice Barre solo, there's not much more to say. Most of it is very unmemorable, though inoffensive when on. And, "Baker St. Muse" just goes on and on... . This is sad to say, especially since the group jams aren't too bad (very tight, but ultimately not really going anywhere). Rating: About 5(8), since nothing is truly offensive.

Trfesok@aol.com (01/30/07)

Well, I enjoy it a little bit more than you do. Martin's playing, I think, reaches a peak here. Tight, powerful, even if it does get to be a bit much. You call the late 80's Tull "heavy metal", but this, I think, is the hardest the group ever got. On the other hand, John Evan gets almost nothing to do, which is a minus. The weakest parts are some of the mix-and-match sections of "Black Satin Dancer" and "Baker Street Muse," which do sound quite discordant and disjointed in places. Still, I do enjoy these tracks more than big portions of the previous two albums. I really like the gorgeous, moving ballad "One White Duck/Nothing At All," too. I would say that the album is good for an occasional listen, but they did better, both earlier and later.

  The remastered version has some bonus stuff, too. The are versions of "Minstrel in the Gallery" and "Cold Wind to Valhalla" which are billed as live, but are really working versions of the acoustic intros that were broadcast on the BBC. But you also get a gorgeous instrumental called "Pan Dance" which was played on the tour, and eccentric ballad called "March, the Mad Scientist" and an even better ballad called "Summer Day Sands" which really should have been on the original album. If you hear the remaster, you might bump the rating a point or two because of these songs.

KiddAbout@aol.com (04/13/10)

This album isn’t as bad as you make it to be; there’s nothing on here that ’s the equivalent of farting on one’s face. The title track and “Cold Wind to Valhalla” rule and wouldn’t sound too out of place on Warchild. “One White Duck/Nothing At All” is an underrated gem, with a nice Dylanesque feel to it. And “Baker Street Muse” has some good parts when it gets going. “ Black Satin Dancer” is also good, I guess.

Still, as good as it is, I can’t help but feel if it’s missing that final spark that makes me consider it a masterpiece. Think of it like to the Nintendo game The Legend of Zelda: Twilight Princess, where there’s some really cool parts, but compared to other games in the franchise, it goes through paths that were already done well by its predecessors and lacks the key components that make the game a true standout and therefore, falls short. Same with Minstrel. A good album, but compared to most of the other Tull albums or albums with Minstrel’s vibe such as Nico’s Chelsea Girls, Donovan’s For Little Ones, King Crimson’s Islands, or Tull’s own Benefit, it’s just there. Look at “Requiem”. It’s pretty, but “Wondering Aloud” and “The Chequered Flag” were more memorable. Same with “Black Satin Dancer” when compared to “New Day Yesterday” or “My God”. Still it’s worth your clams, but get it after the bulk of Tull’s other works.

My rating: 7(10)

Best Tracks: “Minstrel In The Gallery”, “Cold Wind To Vallhalla”, “One White Duck/Nothing At All”, “Baker Street Muse”

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Too Old to Rock and Roll, Too Young to Die - 1976 Chrysalis
7 (11)

Best song: Too Old to Rock and Roll, Too Young to Die

Send me your thoughts

baba dz (cirobl70@yahoo.se) (04/29/08)

I totaly agree with you. Too Old To Rock n Roll...is a very good and underrated album.

KiddAbout@aol.com (04/13/10)

Much better than Minstrel; the spark that was missing there is back here in full force, resulting in Tull's best album since Thick As A Brick. I find it funny that one of Tull's more overrated albums is sandwiched between two of it's more underrated. Dunno why this isn't up there with the fanbase. It's diverse, catchy, and fun. I guess the change of sound was too jarring for some; never mind that it paved the way for the next album, Songs From The Wood, which they like. Oh well.

My rating: 9(13)

Best Songs: "Quizz Kid", "Crazed Institution", "Taxi Grab", "From A Dead Beat To An Old Greaser", "Big Dipper", "Too Old To Rock 'N Roll, Too Young To Die!", "Pied Piper", "The Chequered Flag (Dead Or Alive)".

BTW, Tull did a T.V. special for this album around the time of its release. It's a real gas.

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Songs From the Wood - 1977 Chrysalis
6 (9)

Best song: The Whistler

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NYGiants30@aol.com (9/03/01)

You know this is there best album. It is so versatile. Pibroch has some great folkish crap on it. this is there beast since........well,its just there best!!!!!!!!!!

TheRubberCow@aol.com (1/01/02)

Well, even though you dissed my baby, this review was more fair than than the previous one.  I do love this album, but I can kind of see what you're saying about "Pibroch" and I have always thought "Fires At Midnight" was a little dull.  But besides that, the songs that are on here are great, and the whole sound/cover art is nice.  Before I heard it, judging from the title and cover art, I was expecting a very folky, almost all acoustic album, which I would have enjoyed, but was pleasantly surprised to find a very warm blend of this outside, folky sound with a great deal of electric guitar and rockiness.  Kind of like you're out in the woods, but someone started a fire. Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

Ian didn't go in this direction because of the lack of commercial success on the part of the largely awful "Too Old..." LP, as you imply. If you'll notice, EVERY Tull album is different than all the others (well, Warchild and Too Old... might be identically dull, but still...). Songs From the Wood is their last excellent studio album, I'm afraid. It's a breath of fresh air in ANY climate, and it really takes one away -- like "Mayhem, Maybe" on the 20-year collection -- if one allows it to. Unbelievably gorgeous. However, you don't have to say that you're "not a real Tull fan" (sarcasm acknowledged). You like what you like. It's all valid. That's the great thing about music -- everyone's taste is different. There's no right or wrong.

bsitting@mail.math.ucsb.edu (9/02/03)

This time, it sounds like Ian Anderson is trying to make some memorable music again! This is definitely more prog than folk overall (unlike "Heavy Horses"), but the prog jams are well crafted, and to the point! And, there are some synths, instead of orchestration (sigh...). Though these may not go into my all- time classic Tull bag, some come close, like the title track, "Cup of Wonder" (nice flow to this song!), and "Hunting Girl". Most of the ballads are quite nice too. Only "Pibroch" (intentionally?) sounds bad (mainly the bagpipe- imitating guitar lines). And, "Beltrane" (a bonus track) is quite good. Overall, an 8(11).

(watta502@yahoo.gr) (7/25/04)

Hey John, did you ever think that the intro from the Jethro Tull song "Songs From The Wood" sounds very similar to the intro of "The Advent Of Panurge"? Seems like Jethro Tull had listened to Gentle Giant before they recorded this song.

Trfesok@aol.com (10/13/07)

I am one of the fans that disagrees with you, yes -- this is a wonderful album. Although I'm not 100% familiar with all the mid 70's albums, I think that this is the best one since TAAB.  Melodic, lighthearted, playful and humorous, without the sarcasm  (TAAB) , (Aqualung) or childishness (APP) some of the other stuff. Played as well as usual. The title track is cool, with all those multitracked Ian harmonies.  "Pibroch" is the low point, but I don't hate it as much as you do -- it certainly lacks in melodicism when compared with the other songs, but I really like the varied instrumental sections. My only small nitpick is D. Palmer's overreliance on the ARP synth, which does give the album a bit of a dated 70's feel. Still, it's still in the top tier of Tull for me.

  The remaster contains two bonuses - -an outtake called "Beltane", a rocker that rocks a bit harder than the songs on the album proper. Ian sings it a rougher voice, too, closer to his style on the next album. There's also a BBC live version of "Velvet Green" which isn't all that different from the studio version. The 25th Anniversary box also contains a remix of the title track which puts the guitars in sharper relief, without overdoing it on the drums, unlike some of the other remixes.

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Heavy Horses - 1978 Chrysalis
9 (12)

Best song: Heavy Horses

Send me your thoughts

AveryMBW2@aol.com

Hi there,

I'm a Canadian Tull fan of about 17 years, and I just wanted to mention that I have two original vinyl copies of Heavy Horses in my posession. And to think I took their worth for granted!

Jonathon Avery.

Joel Larsson (joel.larsson@privat.utfors.se)

Jethro Tull is is always placed in the 'prog' category. But not because of this one, and that's for sure. This is more "heavy folk." But it's good, VERY good. Whenever I starts to work with my own review site this will probably get a 10.

Chris Federico (drummerboy_91@yahoo.com) (3/15/02)

I love "One Brown Mouse" and "Rover." Two of their best. The rest of the album sounds -- like everything from Stormwatch all the way through to Tull.Com (with the exception of the wonderful "A Little Light Music") -- like a bunch of very mellow men trying in vain to play decent heavy rock music. This is also the first of their dated-sounding releases, a trend that fortunately stopped upon the release of the reasonably listenable Roots To Branches. Contrasting later Tull are the gorgeous Divinities album and the incredibly fantastic Secret Language of Birds collection. These solo Ian outings are vastly superior to most everything Tull released after Songs From the Wood.

bsitting@mail.math.ucsb.edu (8/27/02)

What a pleasant surprise! These songs have a very charming down-to-earth atmosphere. Who would of thought of 'folk-prog'? At least, it's not overdone here. None of the songs here really blow, though "No Lullaby" is a bit long (does anyone see any irony in the title?).

By far, the crowning track here is "Heavy Horses". Not because it seems to be everyone's favorite, or that I was born on the Year of the Horse on the chinese horoscope (ha-ha!), for being a 'prog'-styled track, it is so very well- written. Nothing is really unnecessary in the track. Even the solos (guitar, violin) have connections with the main melodies which pop up at the right moments. Plus, Ian Anderson is singing very passionately throughout.

In short, your score (again...) seems to be on target!

Trfesok@aol.com (04/29/08)

I remember hearing this back in the day and not liking it very much. What did I know? This is another really nice album.  I don't think it's all that better than the last one, but I liked that one more than you did, so it evens out! It fairly different in a number of ways. Musically, the keyboards seem to be less prominent, although D. Palmer gets some lovely string arrangements in on the title track and "Moths." More disconcerting is Ian's rougher singing tone -- were his infamous voice problems starting here? This becomes apparent, oddly enough, when comparing the original "Weathercock" with the ..Christmas Album version - Ian's actually sounds smoother in the newer recording.

   The lyrics are less whimsical and more down to earth than the last album, for the most. This actually results in some very touching songs like "Moths", the title song and "One Brown Mouse" (that last one comes off quite nicely on Bursting Out). Perhaps Ian's most mature effort up to this point, this album is more overlooked than it should be.

Two outtakes have been added to the remaster. "Living in these Hard Times"  (from 20 Years of.. ) is a fun rocker that may have been a little bit too cliched lyrically, but it's good. "Broadford Bazaar" (on Nightcap) is a more acoustic number about shopping (1) -- maybe too mundane a subject  for the album, but nice.

  A couple of remixes also were released at one point. For some reason, Ian remixed "Moths" for 20 Years of.., pushing both the lead vocals and strings farther back in the mix. The 25th Anniversary box had a remix of the title track with some drub reverb added (only slightly) annoying and seemingly more emphasis on the low frequency end of things. One wonders what Ian was thinking when he tried things like this.

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Live: Bursting Out - 1978 Chrysalis
9 (13)

Best song: Flute Solo Improvisation or Locomotive Breath

Send me your thoughts

bsitting@mail.math.ucsb.edu (9/02/03)

What a live album!! Nothing but tight, energetic performances throughout. Sure, some of the songs were shortened, but that was a good idea overall (except TAAB, but who'd want to perform the entire thing by this point?). Concerning the flute improv., Ian Anderson even quotes a bit of "Quartet" (which was able to appreciate, due to "Nightcap" :) .) This is a nice summary of 'classic' Tull (too bad there was no "Heavy Horses", but then who'd play the fiddle/violin?).

I purchased off Amazon the 2-CD edition, and though a bit pricy, it was worth it! I was glad to hear "Sweet Dream", one of my favorite early Tull singles with Barre's riff in the front (yeh!!), and his two instrumentals were quite tight and enjoyable. And, the drum solo wasn't too bad! And, of course, Ian's often funny stage banter... . Overall, a 9(13), agreed!

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Stormwatch - 1979 Chrysalis
7 (10)

Best song: Elegy

Send me your thoughts

Joel Larsson (joel.larsson@privat.utfors.se) (7/25/01)

Um, this album actually fits my tastes. It's of course heavier than ever before, but that only added something new to the classic Tull formula. The instrumentals are my favourites on this one, "Elegy" is a kind of chamber music, but I like it far more than the classical chambermusic, the sort Mozart and so many others often wrote.

"Warm sporran" is very moody, reminds me of a rogue caravan with that vocal harmony.

A 12 works well, I actually like this one as much as I lie Aqualung (read: quite a lot, though it's not their best).

BTW, cant you put an author's note on this comment? I hope there's nothing offensive with this comment, so it'd be fun to see what you can find to argue about...

(Author's note):*FART*

brian@math.ucsb.edu (5/12/04)

It is interesting that this album is sometimes mentioned as being part of a 'trilogy' of albums beginning with "Songs From the Wood". Perhaps this holds thematically, but music-wise much of the folk is gone.

Yes, the "Tull formula" is back, but this time there are actual melodies in all these songs (including the two long tracks, which are nowhere as aimless as "Baker Street Muse"). However, at the same time, they are not nearly as memorable as most of the songs from the previous two albums. To contribute something different here, it seems that although still mostly enjoyable, Martin Barre's guitar is losing some of its distinctive edge (maybe it is partially from switching guitars).

That said, I particularly enjoy "Something's On the Move" and "North Sea Oil" ("Dun Ringill" is pretty good as well). "Elegy" gets my vote for the best song on this album, hands down. Very pretty and bittersweet instrumental.

As I have the remastered edition of this album (released a few weeks ago), there are a few bonus tracks. Most noteworthy are "A Stitch in Time" and especially "King Henry's Madrigal". This may lend even more proof that Jethro Tull were very good at these "medieval" instrumentals!

Overall, I see this album being rated at about 7(10) [11, counting the bonus tracks above].

Pavel L. Urusov (red_cucumber@mail.ru) (8/11/05)

Hello, John. Well, I think that you extremely underrated this album, which is really good. I also didn't like it at first listen, but later it has grown on me. And I don't know who the man must be to say that 'North Sea Oil' is rocking, but unmelodic :) It obviously DOES have a decent melody. And 'Old Ghosts' is very good too, especially these violin passages in the beginning and in the middle. 'Elegy' is a very, very catchy instrumental (do you know that it was written by David Palmer, not by Ian?) and 'Dun Ringill' ranks among ten best ballads the band ever did. 'Home' is a little bit silly, and it's not like anything Tull did before and after that, but it is very pretty, I think. And even 'Orion', although I don`t feel wonderful about this song, is somewhat interesting.

As for 'Dark Ages' and 'Flying Dutchman', they are filler, of course, but even they are much better than 'Pibroch (Cap In Hand)' or, dare I say it, 'Baker St. Muse'.

The only thing that marres otherwise great album is sound production. It is ull beyond all words, and arrangements are not as good as they could be. That's why you need to listen to Stormwatch thoroughly at least three or four times to appreciate it.

(author's note): This comment was made when the rating was 5(8)

Nick Pulliam (nickpulliam@resonetics.com) (01/23/06)

I think your new score is probably about what I would give this, but I think you and others here don't give Flying Dutchman its fair due. The lyrics in this song alone make it far from filler, and the atmosphere this song creates is melancholy tinged with hope. It dosn't drag for me and works very well (I also like the "jig" bridge).

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A - 1980 Chrysalis
3 (6)

Best song: Black Sunday

Send me your thoughts

Philip Maddox (slurmsmckenzie@hotmail.com)

"Black Sunday" is unbelievably fantastic, quite possibly my favorite Tull song. That creepy atmosphere, the breathy flute playing, the sad lyrics... it's nearly a perfect song, and probably in my very top songs ever recorded by anyone, ever. The rest of this one is extremely rocky going, though. A lot of it ("Uniform", "4WD", "Crossfire") is unbelievably awful, and most of the rest ("Protect And Survive", "And Further On", "Working John, Working Joe") is merely unremarkable, with no need to ever hear them again. "Fylingdale Flyer" is pretty damn cool, though. I'd give it a low 3 if not for "Black Sunday", but that pulls it up to a high 4(7). I hate when groups bury their best songs on crappy albums, but that's how it goes sometimes.

Kathy Fisher (klfisher@webtv.net) (9/10/01)

Why did I buy this album,oh I know Why so Can sell it on Ebay for 15.00$ if I' m lucky!

TheeRubberCow@aol.com (12/23/03)

WARNING: Long, review-like response ahead.    I read your review of this album before I heard it, and the first thing I thought after listening was, "wow, that John McFerrin guy really closes his ears when the keyboard alarm goes off."  I know it's all subjective, but if you wanna know what I think, there's nothing that bad wrong with the keyboard sounds in here, except for maybe that nagging solo in "Batteries Not Included" or the fake piano, which is a little iffy.  (I kinda like that piano sound if used in the right place, though......Genesis did sometimes)    But even the aforementioned song has an attention getting verse with an abrupt chord change by heralding organ, bass/drum/guitar crashes, and an urgent, if very simple melody.  Come to think of it, all of these songs get stuck in my head, except the instrumental, which I should like, but seems out of place.  I guess that's why I liked the album, initially.  It was finally something different.  I haven't heard Stormwatch yet, but I think they were starting to run over the same squirrel too many times with Heavy Horses.  Not to say it wasn't good, just kinda redundant.  No, this album sounds pretty good to me.  And the writing hasn't slipped an inch.  "Crossfire" is one of my favorite intro's to an album......As soon as the vocals come in, I want to pick up the tonearm and start it over again, but I never do 'cause everything that happens after it keeps me listening closely.  I think the vocal effects in Flyingdale Flyer could have been less obstructive to the quality of the song.  And this is also the track where the fake piano sounds weakest.  But I love that break close to the end with that smoothfunky bass and the sparkly keyboards.  Another thing I like about this album is that Ian is singing these songs with a lot of passion, most notably in "Working John - Working Joe" (great lyrics), Anderson sounds like he's genuinely disgusted at the situation.  What a wonderful job he did of squeezing his complaints about all parties invlolved into so few lines while making them flow not only effortlessly, but so entertainingly.  Black Sunday is good, too, but I don't see what's that much better about it than the rest.  Just another great song on a great album.  I like the keyboards and chord changes in "Protect and Survive", and the lyrics aren't that bad either when you consider the importance of the main line.  "Batteries Not Included" and "4.W.D." are headscratchers. (I'm hoping maybe the former's actually song about a demented 4 year old who kills himself after his parents give him a toy that doesn't work, but I'm pretty confident 4.W.D is just about buying a car and nothing else. HA!  He made the music catchy and well constructed anyway.)  So this turned out to be a really long response.  Oh well, in my opinion the album deserves it.  9(13)

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Broadsword and the Beast - 1982 Chrysalis
8 (12)

Best song: Broadsword

Send me your thoughts

Philip Maddox (slurmsmckenzie@hotmail.com)

Like you said, this is an EXTREMELY underrated album, and is, in my opinion, amog the most unfairly overlooked albums of all time. There are tons of classic tunes on here, especially the first 2 tracks on each side - they really get things going in a major way. "Flying Colours", as the All Music Guide was kind to point out, almost sounds like latter day Moody Blues, though it's much better than anything on, say, The Other Side Of Life. "Slow Marching Band" is absolutely gorgeous. The only tracks that are less than great are the still decent "Watching Me Watching You", which sounds like it was straight off of Under Wraps, and the too long "Seal Driver". Despite the keyboards (which actually don't hurt this much), I couldn't give this any less than a 9(13). I've heard all of the outtakes from this album, and if they had replaced "Seal Driver" with "Jack Frost And The Hooded Crow" and "Watching Me Watching You" with "The Curse" (which is equally dorky and electronic, but with a stronger melody), this would be a 14. I actually think this could have been a strong double album. There's at least an album's worth of dumb dumb dumb tunes, but there's another album of tunes of the quality that actually made this album.

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Under Wraps - 1984 Chrysalis
2 (5)

Best song: Under Wraps #2

Send me your thoughts

Barry Schnorr (jpmorgan@imsa.edu)

I'd just like to comment on the non-availability of Under Wraps...I haven't actually heard it, probably fortunately, but I can say that out of 3 music stores (all in the Rockford, Illinois area) all 3 had Under Wraps, out of print or not, and none had Stand Up (which I was looking for.) If somebody who's barely heard of Jethro Tull and wants to try them out wanders in and picks up a CD at random...needless to say, this is grim news.

Philip Maddox (slurmsmckenzie@hotmail.com)

This album actually grew on me somewhat, though I certainly understand why more than a few people would loathe it. Those keyboards are a bit difficult to escape. After quite a few listens to it, though, I actually like a few songs on here, and the only one that really strikes me as awful is "Paparazzi", which is one of the absolute worst songs Tull ever wrote. Still, I think both of the title tracks are great. The electronics can't really hide the great melody there. "Astronomy" has a cathy chorus, and I like the uneasy feeling throughout the song. I like "Tundra" a whole lot, too. Very weird. "Nobody's Car" has a very creepy melody, and I actually like it quite a bit (though it pales next to the excellent live version on the 25th Anniversary Box Set). "Heat" is a bit too long, and a couple of the others are kinda annoying, but this really isn't as bad as it's made out to be. If these songs were recorded sans keys, it might even be great. As it is, I'd give it a 6(9) because, even though it proves what horrid taste I really have, this isn't bad. It's better than A, at least.

Joel Larsson (joel.larsson@privat.utfors.se) (7/25/01)

I though Calling all stations also is among your worst records... heh heh, I yet haven't had the misfortune to buy one of your worst ones, though I gotta check out this and a couple of others in a distant future - I'm always interested in extremely bad records by fabulous artists...

Trfesok@aol.com (10/27/06)

Ooh boy, I'm glad my copy was free! It's pretty bad, but I don't think it's quite as bad as you do. For one thing, I do think that the lyrics are very interesting. The problem, I think, is more with the arrangements and production. The title track proves that if a some these songs were recut with more traditional Tull production -- acoustic guitar, flutes, piano, REAL drums -- they could work. "European Legacy", for example, is an acoustic guitar song smothered by electronics. But Vettese's tacky synths, those even tackier drum machines and annoying effects make this a rough listen. The low point for me is the stuttering delay thing  on "Apogee". (I HATE stuttering in rock songs! "Gemini Dream", anyone?). As it is, it sounds like a demo to a Jethro Tull album instead of the real thing. And if you hate this, don't even think of getting what came out the year before -- Walk Into Light, Ian's first solo album, with more of the same, but without Martin Barre's guitars. 

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Original Masters - 1985 Chrysalis
9 (12)

Best song: A compilation, most are very good

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"Sittinger, Brian D" (brian.d.sittinger@lmco.com) (8/02/01)

This is exactly the way I introduced myself (beyond the radio, of course) to Jethro Tull. And quite a good introduction, too! I obviously knew about "Aqualung", "Thick as a Brick", "Living in the Past", "Locomotive Breath", and "Bungle in the Jungle". Those are truly great songs and deserve their airplay. But, the others?? Well, with acoustic Tull, you just have to be in a relaxed mood to receive them properly! "Life is a Long Song" does drag harder than the rest on here. Wait, surprise! There is "Sweet Dreams", one of my top two or three favorite Jethro Tull songs. Too bad this one is not played much. Great riff, and use of orchestra, with yes, a spectacular solo in the center. "Minstrel in the Gallery" (the song, anyway) is actually quite good, too. By the way, I seem to enjoy the electric Tull songs from this album (as well as "Teacher" and the excerpts from Aqualung that I have heard...) quite a bit. So, in short quite an introduction! This compilation should truly earn 9 out of 10 for sure!!

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Crest of a Knave - 1987 Chrysalis
4 (7)

Best song: Jump Start

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Autull@aol.com

Whew! You really butchered one of my favorite Tull albums!!! Everyone has his own opinion, which should be respected, and I have mine.First of all I think "Budapest" is one of Tull's absolute best. It is a brilliantly structured/layered and complex piece of music without losing the average listener like myself. "Steel Monkey" is one of the hottest songs I've EVER heard Tull do in the studio or onstage, simply put....IT ROCKS!!! Also "Farm on the Freeway" has great lyrics and a good message to boot and the progressions/time changes, et al, are classic Tull and hard to beat. "Jump Start" is another solid piece and a "torcher". At any rate, I don't think this is the best representative of Tull's work to win a Grammy but it surely did beat the other nominations that year. Even when Tull is not at the very top of the game they are much better than ANYTHING on the radio and they still put the great majority of rock bands, pat or present, to shame.

Philip Maddox (slurmsmckenzie@hotmail.com)

Most fans think this is a big step up from Wraps. I don't. I think it's worse. Under Wraps wasn't exactly great, but at least it had some ideas and some memorable song structures (though whether or not they're GOOD ideas and song structures is a matter of opinion). Not here. This is a retreat to genericness, and though it isn't as bad as Rock Island, it isn't much more interesting. 3 songs are "pretty good" ("Jump Start", "Farm On The Freeway", and yes, even "Budapest" are all decent, slightly memorable listening experiences with some cool bit buried within; "Jump Start" is actually close to being very good), and everything else is OK. Not good. Not bad. Just OK. While that doesn't make for a PAINFUL listening experience, it makes for a dull one. I'd give this a 4. Electronic Tull was more interesting - I'd rather hear a refinement of Under Wraps than a totally generic rock record. And, as much as I love Tull, this beating ...And Justice For All for the hard rock Grammy was a joke. C'mon, does anything on this record come CLOSE to "One", "Blackened", "...And Justice For All", "Harvester Of Sorrow", or, well, anything else? I'd say my favorite song here ("Jump Start" is still inferior to the worst song there ("The Shortest Straw").

rick (rick@jps.net)

I think you've fallen into a trap allot of Tull listeners do ................. expecting to hear a "particular" sound. If you go into each new album with an open mind, you'll come away with allot more.

The other mistake that listeners make is trying to decide if they like a song or album after hearing it once or twice.

Most of the Tull songs I like best, are not the ones that immediately "jump" out at you. Tull songs aren't the Top 40, and contain allot more complexity than a typical song.

That's why each album of theirs can delight many listeners, yet dissapoint just as many.

The emotional, strong music, and lyrics of Crest of a Knave (particularly Budapest and Farm on the Freeway), are exceptional for those who can feel and hear the passion

..... for others it's too much rock (maybe that's you, since your favorite is album "Too Old To Rock and Roll, Too Young To Die"

........ maybe your "Rock" days are truely behind you ............... and maybe you should sit in front of the fire with cookies, milk, and a John Denver CD ............ and leave the Tull concerts and reviews to us ...................

Kathy Fisher (klfisher@webtv.net) (9/10/01)

I tried so hard to love this Album ! I really did . That was the year I finally got to meet Ian.but I did not bring Crest with me to be signed,I did bring HEAVY HORSES,STAND UP AND MINSTREL, I did however, leave AQUALUNG home because I was ashamed of the covers condition! these were albums worthy of getting grammys,not Crest!

ALPH1217@aol.com (2/09/02)

Well, I don't agree at all with your assessment of this album but everyone is certainly entitled to their opinion. This is actually a firm favorite of mine and it was good to see it make a respectable climb up the charts. There's a 'bluesy feel' throughout much of the record which I really like but it's actually Martin who delivers big time. With Ian being the main focal point of the band since its inception it was great to see one of the most underrated guitar players in rock music come up with the goods. I saw Tull in November of 1987 just after the release of this record in a packed Byrne Arena in New Jersey. It really was a terrific show all the way around with the new songs from 'Crest' played to perfection.

Lars Tängmark (lars.tangmark@swipnet.se) (7/23/02)

Crest of a Knave is great! I must admit it's the only Tull album I've listened to a lot. It just happened to be lying around when I was 14 (around the time of its release I guess) and I played it to death. Older Tull records haven't impressed me much (and later LPs have too much "roots"). Steel Monkey sounds like and artschool version of ZZtop. I find that concept attractive, but I guess it's not everyone's cup of tea.

trfesok@aol.com (02/13/09)

I also have to disagree with you on this one. This is a huge step up from the last one in terms of melodies and arrangements, for the most part. The lyrics are never less than interesting, although Ian's understading of the concept of evident domain in "Farm on the Freeway" is about 40 years out of date. "Jump Start" and "Steel Monkey" are at least clever and fun, lyrically, although I also have to agree that "Said She Was a Dancer" and "Budapest" are quite redundant.   Musically, the techie opening (much as the Moody Blues opening Strange Times with "English Sunset" was) of "Steel Monkey" was quite jarring. Ian admits in the liner notes to the remaster that he modeled it on what ZZTop was doing at the time. "Dogs in the Midwinter" is probably the weakest song melodically, but "The Waking Edge" is actually quite moving. The long instrumental section of "Budapest" probably qualifies as filler, but it's at least listenable.

I also think your labeling of this phase of Tull as "heavy metal" is unfair. They won that Grammy, but they were hardly comparable to Metallica here. Hard rock, certainly. What you overlook is what many others have pointed out -- that most of the songs strongly resemble Dire Straits' work at this time, in the melodies, guitar sounds, even lyrics and vocals. Intentionally or not, Dire Straits was hardly a metal band.

Where I really agree with you is on the issue of the vocals. Ian's deteriorated, croaking voice here is hard to listen to.  He would eventually adjust his songwriting to accommodate his lessened vocal range, but this hadn't happened yet. I first saw the group on this tour, and while the band's performance  and Ian's stage presence were great, the singing was pathetic on the classic material. You can hear examples from the tour on the 20 Years of.. boxset, four songs from a London show (the show opener, "Songs from the Wood"; "Wondering Aloud"; "Dun Ringill"; and six minutes of "Thick as a Brick") and two songs from Philadelphia ("Living in the Past" and "Farm on the Freeway"). I wouldn't search out the box just for these, though.

After Ian got back from the tour (in March, 1988), a couple of new songs were recorded. "Part of the Machine" is a terrific number along the lines of the album' sound, with great lyrics that evidently refer to American politics. This first got to that boxset, but it's also been added to the album remaster. I'm pretty sure that "Man of Principle" (from Nightcap) was also recorded in that session, although that one has a bit too much of a thudding 80's sound to me.

In the liner notes to the remaster, Ian reiterates his opinion that "Budapest" is "the ultimate Jethro Tull song." Bet that sticks in your craw!

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Rock Island - 1989 Chrysalis
2 (5)

Best song: Another Christmas Song

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Philip Maddox (slurmsmckenzie@hotmail.com)

Oh so boring. I finally heard Crest, and actually liked it, but this just sounds like a generic rip off of that album, with less new ideas, worse lyrics and vocals, and no worthwhile melodic ideas. "Another Christmas Song" is at least pleasant, and "Ears Of Tin" has a very pretty verse melody before the chorus turns generic, and the fast parts rips off "Kissing Willie", which wasn't that good to begin with. Nothing here is really horrible (except "Big Riff" and "Rattlesnake"), and it's occasionally pleasant, but why would I ever want to listen to it? Maybe a high 3(6), a REALLY low 4(7) on a good day.

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Catfish Rising - 1991 Chrysalis
5 (8)

Best song: Rocks on the Road or This is Not Love

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A Little Light Music - 1992 Chrysalis
8 (11)

Best song: Locomotive Breath

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Nightcap - 1993 Chrysalis
8 (12)

Best song: Critique Oblique

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bsitting@mail.math.ucsb.edu (9/02/03)

It's interestng that I bought this about a week before you put up your review on this. And, your review more or less summarizes my thoughts on this album: The "Chateau CD" is really good, while the second CD isn't so hot, though most of the stuff from the 70's is at least alright.

The "Chateau D'isaster Tapes", to me, are a projection of the early 'raw' bluesy Tull sound onto the progressively-oriented Tull (up through TAAB). This means that I enjoy practically every track on here. The 'animal'-themed tracks are hilarious. Perhaps after TAAB and Aqualung, these lyrics wouldn't hold up to public expectations, but it shows the very whimsical side of Jethro Tull. [It probably would've been something to see the live TAAB shows from this era. But, I would not be born for at least another five years...] Back to the music. The two instrumentals, starting with "Animalee" would be perfect "medieval" rock, especially with the harpsicord (in the first of these), and of course the flute, as they flow at a nice laid-back speed. "Law of the Bungle 2" has that hilariously strange intro. from Barre, but with another solid jam following. Then, comes the more overtly "A Passion Play" stuff. Even this is good! It more or less follows from my claim at the beginning of this paragraph. Too bad the last two tracks are not part of the actual APP, since they're really good (even if these are not exactly "polished"). And, Martin Barre gets some nice riffing and a solo in "No Rehearsal". (I read somewhere that this latter song even made it into the live set at the time!)

Perhaps it was unwise of me to get this before APP, as the vibrant jams on this CD sounded a bit limp and at places made a bit overly complicated in APPitself! The cruel fates...

As for the second album, "Paradise Steakhouse", "Sealion 2" (Jeffrey Hammond makes this version a classic!), and "Quartet" are amongst the obvious highlights. And, for some reason, most of the '80+ stuff doesn't really do much for me at all. So, your overall rating seems reasonable. BUT, for just the first CD alone, I'd give it a 13 ( a 14 would not be out of the question were this material polished (just a wee bit) as a followup to TAAB), as my #3 favorite Tull album, just barely ahead of "Aqualung" (not counting "Live: Bursting Out").

Trfesok@aol.com (03/17/07)

Yes, Ian did make a fatal mistake in discarding the "Chateau" material.  He certainly would have stayed in everyone's good graces a bit longer. Melodicism and musicianship both still intact. While I recall "Crtique Oblique" being as intolerable as the rest of APP, here, it's surprisingly enjoyable. (And a live version of that chunk is also on the 25th Anniversary Boxed Set, so Ian evidently figured out it was the best section). A lot of the other music, supposedly, had lyrics written for it, but Ian was smart enough to realize that trying to overdub his croaking 90's voice onto it would be totally incompatible. So, he and Martin put in new flute and guitar lines instead. The lyrics of the first half are lighthearted and fun, revealing Ian's penchant for scatology, and the drama of the concluding stretch, "Scenario/Audition/No Rehearsal" (which also appeared on the 20 Years Of.. box), is frightening. Again, this could have been another TAAB, but its failure most have put Ian in a darker mood...

  The second disc is all over the place, but I like it well enough, except for the dumb "Sealion 2." Hearing Ian sing the 70's stuff and comparing his 80's-90's vocals is pretty depressing, but the songs and lyrics themselves are OK, if more interestingly straightforward on the later songs. Tull fans should definitely find it if they liked TAAB, APP, Stand Up and/or Aqualung.

(majordivit@comcast.net) (04/29/08)

I think the song 'Left Right' is one of the greatestt unknown Tull songs.   How that song never made it onto Passion Play or one of the many Tull box sets is beyond me.  The song features one of, if the not best, Martin Barre head splitting riffs that rocks like there is no tomorrow.  The middle 8 portion is catchy too, considering this song is pure prog rock mixed with heavy rock.

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Roots to Branches - 1994 Chrysalis
5 (8)

Best song: Roots to Branches

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Autull@aol.com

I feel that this is one of Tull's most underrated efforts. You almost gave the title cut its due & did not mention the beautiful and poignant "Beside Myself" which is undeniably great music as is "Rare and Precious Chain". "Dangerous Veils" is also excellent musicianship and "This Free Will" is equally popignant as "Beside Myself". Ian is very interested in Indian culture, food, etc., and the impact of this interest is reflected in this work.

David Koukol (dops@mail.com)

I've been a Tull fan for 21 years and feel that the "Roots To Branches" album is the culmination of the Tull experience. Ian Anderson's writing and musicianship are at their peak and the band's contributions are fully-integrated and inspired. If I had to choose only one album to take with me to the proverbial desert island, it would be "Roots To Branches."

trfesok@aol.com (02/13/09)

Hearing "Beside Myself" -- which I also think is a fantastic song -- convinced me to purchase the album. The rest of it doesn't live up to the song, but I don't regret it. The songs don't instantly grab you at first, but most of them really grow on you over time. The playing is terrific, particularly Andrew Gibbings' command of keyboard textures. Ian's flute solos lift up the songs also, even a so-so number like "Wounded, Old and Treacherous".  I do concede that some of the tracks -- particularly "Wounded.." and "At Last Forever" -- could have been edited down considerably without missing much. "Another Harry's Bar" is another nice number which, once again, sounds like Dire Straits hired a flautist. Ian has gotten better at writing songs that now fit his limited vocal range, but he still sounded hopelessly croaky singing old stuff on the tour.  The lyrics are really good, also, with actual emotional resonance showing up in "At Last, Forever" and "Bes ide Myself."  A 4 is way too low, overall.

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J-tull Dot Com - 1999 Fuel 2000
7 (10)

Best song: Hard to say, but for once that's a good thing!

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Autull@aol.com

One thing I truly love about the CD format is MORE music. If it's good, which "J-Tull.Com" is, then I simply cannot get enough of it.

TheRubberCow@aol.com (5/24/02)

This is one catchy-ass album.  I don't think there's anything I don't like about it, except "Mango Surprise."  I could kind of put up with the vocal part on "Hot Mango Flush" since the music itself is so good, but the reprise was completely unneccessary.  There are some standouts on here to me, "El Nino", "Dot Com", "Awol", and "Bends Like a Willow."  I do really like the fulte playing here.  But you know, I can't understand why this is considered heavy metal.  I haven't heard any of their other "metal" albums, but if the qualities that make this metal are the same ones that make those other ones metal, I'd have to disagree.  I would say some of the songs are metal-influenced, but as a whole sound more like some older Jethro Tull.

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Living With The Past - 2002 Fuel
8 (11)

Best song: Nothing Is Easy

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David Koukol (dops@mail.com) (5/29/02)

I always find your comments on Jethro Tull intriguing (particularly when I disagree with them, which is often, and I'm all in favor of constructive debate), and was very surprised to read your generally positive remarks concerning their new live album. I agree that "Nothing Is Easy" is a great track, but have to differ with you as regards its "rawness as a source of its "power." I have never listened to Tull for "rawness" (and have been a fan for 23 years now), though I acknowledge that their 1960s material was rough-hewn. I prefer the more refined Tull of today, with more accomplished musicianship (listen to Ian Anderson's superlative flute playing on the live version of "In The Grip Of Stronger Stuff," with he originally wrote and recorded for his solo instrumental album, "Divinities"). It goes back to what I wrote in an earlier Email to your site: Ian and they guys have matured as musicians, not having stood still and rested on their laurels. I'd be very worried if the! y still sounded as "raw" as they did when they were twenty years old! The refined Tull of today can still pack a punch, though, as this CD's version of "Living In The Past" ably demonstrates; it has vast amounts of infectious energy to spare.

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The Jethro Tull Christmas Album - 2003 Fuel
8 (11)

Best song: God Rest Ye Merry Gentlemen

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Langas de los Langas (putolangas@hotmail.com) (03/26/06)

I was wondering when would you review this album, which I listened to a year and a half ago, just a week before my first Tull concert (an amazing show, by the way; it was performed in an old Arab castle in Murcia - 250 miles away from my home in Madrid - and I don't mean in a hall inside the castle, no , I mean an open air stage arranged at the top of the castle, with Ian and his pals performing like a band of medieval minstrels)... and I must say I agree with your rating, and even with the choice for best song! (which is very strange indeed, since you almost never pick my favorite one) I absolutely ADORE "Last man at the party", but "God Rest Ye Merry Gentlemen" is just gorgeous... I would especially remark Jonathan Noyce's terrific work at bass in that one. I think the fact that there is so much old material is actually a positive aspect of the album, since it provides a full view of Tull's career, like a 'Greatest Hits', only better. And in some cases the new recordings overcome the originals: I had never paid much attention to 'Weathercock' in its original form - now it's one of my favorites!

Trfesok@aol.com (12/16/06)

I don't think we're in Aqualung land anymore, Toto. Not only is the concept a big surprise, but so is the quality. A side by side comparison of the original versions with the remakes don't necessarily show improvements -- "A Christmas Song" isn't nearly as menacing without the strings, and there's no way that Ian could replicate the original backing harmonies on "Jack Frost.." It doesn't matter, though, because the material, both old and new, fits together perfectly with these low key, mostly acoustic arrangements. The instrumentals are a lot of fun, if a bit irreverent, especially "We Five Kings."  The lyrics, of course, tend towards the sentimental (especially for Ian), but it is Christmas. One of the best rock Christmas albums ever.