As with all of the releases in the Extended Versions series, the 2006 Jethro Tull edition is a set of latter-day live renditions of some of the group's best-known classics – which have all been previously released. And as with most Tull releases after, say, 1980, the performances and production here are exceedingly clean-sounding – in other words, the bite of their classic early-'70s period is nowhere to be found. What you get instead are pretty blah versions of such classics as "Aqualung," "Locomotive Breath," and "Living in the Past." But it's always a gas to hear such lesser-known Tull tunes as "Fat Man" and "Nothing Is Easy," both of which are included here, while a truncated version of "Thick as a Brick" (which still clocks in at over nine minutes) is a rare point where the group truly sounds inspired.
Released at a time when a lot of bands were embracing pop-Christianity (à la Jesus Christ Superstar), Aqualung was a bold statement for a rock group, a pro-God anti-church tract that probably got lots of teenagers wrestling with these ideas for the first time in their lives. This was the album that made Jethro Tull a fixture on FM radio, with riff-heavy songs like "My God," "Hymn 43," "Locomotive Breath," "Cross-Eyed Mary," "Wind Up," and the title track. And from there, they became a major arena act, and a fixture at the top of the record charts for most of the 1970s.
Jethro Tull's 11th studio album, Heavy Horses, is one of their prettier records, a veritable celebration of English folk music chock-full of gorgeous melodies, briskly played acoustic guitars and mandolins, and Ian Anderson's flute lilting in the background, backed by the group in top form…
Essential: a masterpiece of progressive rock music
After playing this album for literally months, I have finally sat my skinny arse down to lend some ink to the wonderful JETHRO TULL recording “Bursting Out – Live”. It is now remastered — thank you very much Chrysalis/Capital records for doing so, and Ian ANDERSON, of course, for being there to supervise and lend your personal touch with colorful liner notes.
The Broadsword and the Beast is the 14th studio album by Jethro Tull, released on 10 April 1982 and according to Ian Anderson in the liner notes of the remastered CD, contains some of Jethro Tull's best music. It mixes electronic sound, provided by Peter-John Vettese (a characteristic that would be explored further on the next album Under Wraps), with acoustic instruments. The album is a cross between the synthesiser sound of the 1980s and the folk-influenced style that Tull had in the previous decade. The Broadsword and the Beast is one of Steve Hackett's favorite albums.
A year after honoring the band’s real-life namesake with a rock opera, Jethro Tull frontman Ian Anderson is giving a dozen of the group’s songs the string quartet treatment. Jethro Tull: The String Quartets, due out March 24 and available to pre-order now, finds Anderson working alongside the Carducci Quartet and arranger/conductor John O’Hara to recast a dozen Tull tracks in a new light.
Jethro Tull's first LP-length epic is a masterpiece in the annals of progressive rock, and one of the few works of its kind that still holds up decades later. Mixing hard rock and English folk music with classical influences, set to stream-of-consciousness lyrics so dense with imagery that one might spend weeks pondering their meaning – assuming one feels the need to do so – the group created a dazzling tour de force, at once playful, profound, and challenging, without overwhelming the listener. The original LP was the best-sounding, best-engineered record Tull had ever released, easily capturing the shifting dynamics between the soft all-acoustic passages and the electric rock crescendos surrounding them.
A live recording of concerts from London, Dortmund, Frankfurt, Mannheim, Munich, Berlin, Graz, Prague, Zurich, Athens, Ankara, Jerusalem & Caesarea May, 1992. After the '70s, Jethro Tull struggled with each album to update their sound, but kept falling short with out-of-place synthesizers and drum machines. Three attempts at harder-rocking albums were followed by the Little Light Music tour in 1992, one which took a step back into a relaxing semi-acoustic setting. This album, a document of that May's European shows, should be treasured by fans looking for something more than the 10,000th performance of "Aqualung"…