Jethro Tull on track

Sonicbond Publishing Limited

www.sonicbondpublishing.co.uk

Email: [email protected]

First Published in the United Kingdom 2019

First Published in the United States 2019

Reprinted 2020

This digital edition 2022

British Library Cataloguing in Publication Data:

A Catalogue record for this book is available from the British Library

Copyright Jordan Blum 2019

ISBN 978-1-78952-016-3

The rights of Jordan Blum to be identified as the authors of this work have been asserted by them in accordance with the Copyright, Designs and patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission in writing from Sonicbond Publishing Limited

Graphic design and typesetting: Full Moon Media

Acknowledgements

First, I would like to thank Stephen Lambe for offering me the opportunity to write this book and for showing nonstop confidence in my ability to produce something accurate, interesting, enlightening and generally worthwhile. Similarly, thanks to fellow Sonicbond Publishing writer – and my Classic Rock Society editor – Steve Pilkington for his support and advice along the way, as well as to Tim Bowness, currently giving Sonicbond books a home at the Burning Shed online store.

In terms of personal contributions, author Brian Rabey deserves gratitude for his insights and friendship as this book came together. Likewise, thanks to all of the musicians who answered my questions about their histories with Jethro Tull; whether or not your responses are explicitly referenced, know that your feedback was invaluable in helping me shape my research as I went. (These musicians include Colin Edwin, Fred Schendel, Ian Beabout, James Schoen, Karl Eisenhart, Mark Trueack, Mathew Spivack, Mike Keneally, Mike Toehinder, Neal Morse, Petter Sandström, Phideaux Xavier, Randy George, Rikard Sjöblom, Ross Jennings, Steve Hackett, and Tim Bowness). Equal thanks to everyone who submitted pieces for the photo section: Austin Kokel, Bob Keith, Bruce Kessler, Claus Petersen, Guido Verbiest, James Griffiths, John Goldacker, Michael Gillett, Philipp Rauch, and Thomas Friesenhagen.

Finally, thanks to all of my friends, family, and online acquaintances whose constant interest in and advice for this project made me believe in and stay focused on what I was doing. Specifically, thank you to my sister, Erica, and my mother, Kandie, for their love and support in everything I do. Most importantly, thank you to my father, Jay, for not only being there as a parent but also for introducing me to progressive music when I was a kid. The origin of this book – as well as everything I am as a genre fan and writer – dates back to you playing me those albums in the basement when I was young. I guess blasting Thick as a Brick and A Passion Play almost every day during high school paid off.

Contents

Acknowledgements

Introduction

This Was (1968)

Stand Up (1969)

Benefit (1970)

Aqualung (1971)

Thick as a Brick (1972)

A Passion Play (1973)

War Child (1974)

Minstrel in the Gallery (1975)

Too Old to Rock ‘n’ Roll: Too Young to Die! (1976)

Songs from the Wood (1977)

Heavy Horses (1978)

Stormwatch (1979)

A (1980)

Under Wraps (1984)

Crest of a Knave (1987)

Rock Island (1989)

Catfish Rising (1991)

Roots to Branches (1995)

J-Tull Dot Com (1999)

The Jethro Tull Christmas Album (2003)

Roundup – Live/Video, Compilations, and EPs/B-Sides

End Game – Ian Anderson Solo

Jordan Blum’s ultimate Jethro Tull Playlist

Jethro Tull albums ranked from best to worst

Bibliography

Jethro Tull albums ranked from best to worst

Introduction

It’s nearly impossible to discuss the history of rock music without praising the monumental quality, impact, variety, and boldness of Britain’s Jethro Tull. Named after an eighteenth-century agriculturalist – and not after their striking frontman, despite the common claim of both casual listeners and uninitiated spectators – the group almost immediately became one of the most ambitious, and significant acts in two simultaneous subsections of the genre: progressive rock and folk rock (thus, we subsequently have the term ‘progressive folk’). Alongside English contemporaries like Genesis, King Crimson, Pink Floyd, Van Der Graaf Generator, Gentle Giant, Yes, Camel, and Renaissance, Jethro Tull helped invent not only new sights and sounds within burgeoning forms (including innovative integrations of already established styles), but also freshly experimental techniques within those encompassing evolutions (‘epic’ song lengths, conceptual sequences, elaborate meta-packings, and more). Naturally, they also managed to become a staple of stadium/arena rock as well; as such, they were among the most financially successful and popular bands of the 1970s, leading to tenure on classic rock radio stations across the globe to this very day. In other words, Jethro Tull have always been, and will always be, kind of a big deal.

Officially formed in 1967 (following a few years of fledgeling roadblocks, such as different monikers and line-up changes that contained some players who would return later), mastermind Ian Anderson and company initially (i.e., 1967’s debut LP, This Was) encompassed a palpable blues and jazz foundation. They before subsequently veered towards more sophisticated, diverse, and expansive – though still warm and charming – elements (including a strong vocal shift for Anderson, which we’ll get to soon enough). Next, their early ‘70s period – which, let’s be honest, is often considered their peak –was ripe with lasting progressive rock benchmarks in the form of iconic album cuts (‘Aqualung’, ‘Bungle in the Jungle’) and lengthy narrative suites both sardonically endearing (Thick as a Brick) and segregationally erudite (A Passion Play).

For the most part, the band spent the latter half of that decade modulating those trademark flavours, ultimately finishing the ‘70s with what they referred to as the ‘folk rock trilogy’ (Songs from the Wood, Heavy Horses, and Stormwatch). Like numerous peers at the time (ELP, Rush, Yes, and King Crimson, to varying degrees), Jethro Tull then embraced the more commercially accessible arrangement and songwriting demands that most of the 1980s popular culture wrought – complete with a fair share of electronic percussion, six-stringed hard rock fervour, and synthy highlights – yet their core identity remained throughout.

As their output came to a close in the ‘90s, the group more or less adapted that streamlined slant for the norms and expectations of the time; ironically, however, Jethro Tull concurrently recalled the cosier and more robust and go-getting assets of their mid to late ‘70s triumphs. This compromise even extended into Anderson’s 2012 solo sequel, Thick as a Brick 2: Whatever Happened to Gerald Bostock?. In a way, then, they nearly came full circle at the end, leaving behind a remarkably cherished, consistent, and commanding discography.

Retrospectively, such a trajectory makes Jethro Tull not only one of the premiere progressive rock artists of all time, but arguably the single most influential progressive folk ensemble ever (not to undervalue the significance of stylistic siblings like Fairport Convention, The Strawbs, Steeleye Span, and Pentangle, of course). Specifically, Jethro Tull’s fingerprints can be found on the works of various modern acts, including – but far from limited to – Porcupine Tree, Dream Theater, Änglagård, Opeth, Midlake, Big Big Train, Fleet Foxes, Of Monsters and Men, Joanna Newsom, The Decemberists, Agalloch, and Phideaux.

Several notable creators have been sweetly forthright in extolling Jethro Tull’s bearing on themselves and the genres above in general. In particular, guitarist Steve Hackett (ex-Genesis) reflects, ‘They elevated folk rock to electric proportions and sounded more disciplined than many of the bands of the early era. They’ve always ploughed their own furrow with wide dynamics, which work particularly well live. Ian’s fantastic voice, flute-playing, and sense of perfectionism – along with Martin Barre’s marvellous guitar work – was always a treat for me’.

Clearly, there’s a lot to dissect about the group’s studio legacy, which is exactly what this book aims to do. Going album by album, we’ll look at the behind-the-scenes circumstances and motivations for each release before delving into a track-by-track original analysis (with periodic input from outside players and professionals along the way) to acutely observe why Jethro Tull was – and always will be – an invaluable part of rock music history.

This Was (1968)

Personnel:

Mick Abrahams: guitars (six and nine string), backing and lead vocals (4)

Ian Anderson: lead vocals (1 – 3, 7, and 9), flute, piano, guitar, harmonica, clanghorn

Clive Bunker: drums, hooter, charm bracelet

Glenn Cornick: bass guitar

Dee Palmer: French horn and orchestral arrangements (4)

Victor Gamm: engineer

Produced at Sound Techniques, London, June – August 1968 by Jethro Tull and Terry Ellis

UK release date: October 1968. US release date: February 1969.

Highest chart places: UK: 10, USA: 62

Running time: 38:21

Current edition: Rhino 2018 three-CD/one-DVD ‘50th Anniversary’ Edition (Steven Wilson Remixed)

In his book Mountains Come Out of the Sky: The Illustrated History of Prog Rock, Will Romano notes: ‘Historically, progressive rock had been forged from the musical fires lit by American blues and R&B pioneers’. Arguably no other early entry in a genre better exemplifies this than Jethro Tull’s premiere outing, 1968’s This Was. Filled with stimuli from across the Atlantic (a trend that had been occurring in England since before the British Invasion sparked reciprocal emulation in America), the LP was borne out of a handful of roster and name changes over the preceding three years. Yet it still carried the stylistic identity that schoolmates Ian Anderson, Jeffrey Hammond, and John Evan aimed for years before Jethro Tull formally began. Hence, This Was, like the first collections by several peers (Genesis’ From Genesis to Revelation, Pink Floyd’s The Piper at the Gates of Dawn, and Yes’ eponymous work, for instance), alluded to the band’s future DNA while also standing in stark contrast from it. In addition, it’s a fine example of how (as the saying goes) greatness comes from humble beginnings.

Internally, the most notable aspect of it is easily the weight of Mick Abrahams (who only appeared on this one and would then go on to form Blodwyn Pig). As a co-writer on several tracks and the lead vocalist on one (‘Move on Alone’), Abrahams’ role makes This Was a surprisingly communal endeavour in hindsight (since he departed because Anderson wanted to go in a different direction and take on a more dominant role afterwards). Even the liner notes included a telling anecdote – ‘This was how we were playing then – but things change – don’t they?’ – that was echoed by Anderson in a March 2018 remembrance for PROG magazine:

It’s all in the title, isn’t it? This was Jethro Tull. That’s no accident because when we were recording it, the one thing I felt sure about is that if we were lucky enough to make another album, I knew it wouldn’t be like this one: based on blues elements and black American folk culture. That’s not part of my life and I couldn’t keep doing that – I’d look like a complete twit.

It’s also worth noting how much This Was showed a reliance on instrumentals (four) and, like early Beatles LPs, reimagined material from other musicians (‘Serenade to a Cuckoo’ and ‘Cat’s Squirrel’ originated with Roland Kirk and Isaiah ‘Doctor’ Ross, respectively). Likewise, it finds Anderson alternating between his more recognisable vocal timbre and a lower bellow – which he’d completely abandon soon after – that overtly evoked his overseas R&B counterparts.

Upon release, This Was sold well, was received favourably by outlets like Melody Maker and New Musical Express and charted highly in the UK (it was met positively but less enthusiastically overall in the US). Looking back, it’s obvious that it contained several key components of the group’s trademark sound, such as feisty drumming, biting six-string licks, and flowery flute passages (which are particularly impressive considering that Anderson had only taken up the instrument about six weeks prior to recording). It’s no surprise, then, that devotees see it as a vital, if occasionally overlooked, part of the Jethro Tull chronology.

‘My Sunday Feeling’ (Anderson)

With its initial burst of shuffling beats, focused bass lines, tight guitar chords, interspersed flute flourishes, and tenderly penitent vocals, this opening track immediately reveals how much Jethro Tull was touched by the blues back then. Even its lyrics – ‘Now that the night is over / Got to clear my head so I can see / Till I get to put together / That old feeling won’t let me be’ – are emblematically simple, blunt, and regretful. While everyone plays their part efficiently (and the mid-section duel between Abrahams and Anderson is alluring and ambitious), it’s Bunker who shines most, as he proves ceaselessly dynamic and creative in leading the charge. It’s also worth noting that the closing portion subtly conjures to ‘Work Song’ (by Nat Adderley and Oscar Brown) and ‘Pink Panther Theme’ (by Henry Mancini).

‘Some Day the Sun Won’t Shine for You’ (Anderson)

A slower and sparser tune than its predecessor, this one evokes ‘Key to the Highway’ by Big Bill Broonzy in both its overtly traditional structure and instrumentation (including some impressive harmonica fills). Light and mellow, it finds Anderson and Abrahams sharing lead vocals with a definite shade of DIY appeal (since their phrasing wasn’t consistently synchronised). The absence of Bunker and Cornick makes it an atypical inclusion, too, and there’s an inherently bittersweet nature to how well the other pair match each other vocally and instrumentally when one considers the behind-the-scenes turmoil and subsequent split between them.

‘Beggar’s Farm’ (Abrahams, Anderson)

Without a doubt, ‘Beggar’s Farm’ is the most prophetic track on This Was. Just about every element – from the woodwind warnings and revolving guitar patterns to the cautionary singing and purposefully stifled percussion – hints at the sinister air of upcoming gems like ‘Sweet Dream’ and multiple cuts from 1971’s Aqualung. It’s also the first time on the record that Anderson sings in what would become his recognised register; equally, the relatively erratic complexity near the end, while planted a bit in freeform jazz, also suggests aspects of later work (as do Anderson’s respiratory alarms, however compulsory). In a June 2018 interview with Rolling Stone magazine, he called the song, ‘a relatively successful attempt to take the essence of black American blues and turn it into some middle-class white boy [music]’; in the process, though, the band foreshadowed the great pieces they’d soon devise.

‘Move on Alone’ (Abrahams)

The only selection written and sung solely by Abrahams on the album (and therefore, on any of their studio LPs), ‘Move on Alone’ is a strikingly different composition than its brethren. In fact, the mixture of Abrahams’ nostalgic and classy delivery, coupled with Dee (formerly David) Palmer’s horn arrangement, makes it sound more like, say, a lost track from Love’s Forever Changes or The Moody Blues’ Days of Future Past (or even the big band creations of decades past) than it does an expected continuation of the established This Was path. Similarly, the ways in which the bright and bouncy score contrasts the downtrodden foundation and melancholic views – ‘My bed is so empty and my heart is grown cold /Guess I’ll just die before I grow old’ – is admirable. It’s precisely that diversity that makes it such a treasured addition and demonstrates how determined Jethro Tull were from the start.

‘Serenade to a Cuckoo’ (Roland Kirk)

Roland Kirk was a major force