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Jethro Tull

Jethro Tull were a unique phenomenon in popular music history. Their mix of hard rock; folk melodies; blues licks; surreal, impossibly dense lyrics; and overall profundity defied easy analysis, but that didn't dissuade fans from giving them 11 gold and five platinum albums. At the same time, critics rarely took them seriously, and they were off the cutting edge of popular music since the end of the 1970s. But no record store in the country would want to be without multiple copies of each of their most popular albums (Benefit, Aqualung, Thick as a Brick, Living in the Past), or their various best-of compilations, and few would knowingly ignore their newest releases. Of their contemporaries, only Yes could claim a similar degree of success, and Yes endured several major shifts in sound and membership in reaching the 1990s, while Tull remained remarkably stable over the same period. As co-founded and led by wildman/flutist/guitarist/singer/songwriter Ian Anderson, the group carved a place all its own in popular music.

Tull had its roots in the British blues boom of the late '60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond's club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass, and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the Northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the "s" in his name at Hammond's suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor's Engine.

In December of 1967, the four of them agreed to form a new group. They began playing two shows a week, trying out different names, including Navy Blue and Bag of Blues. One of the names that they used, Jethro Tull, borrowed from an 18th-century farmer/inventor, proved popular and memorable, and it stuck. In January of 1968, they cut a rather derivative pop-folk single called "Sunshine Day," released by MGM Records (under the misprinted name Jethro Toe) the following month. The single went nowhere, but the group managed to land a residency at the Marquee Club in London, where they became very popular.

Early on, they had to face a problem of image and configuration, however. In the late spring of 1968, managers Terry Ellis and Chris Wright (who later founded Chrysalis Records) first broached the idea that Anderson give up playing the flute, and to allow Mick Abrahams to take center stage. At the time, a lot of blues enthusiasts didn't accept wind instruments at all, especially the flute, as seminal to the sound they were looking for, and as a group struggling for success and recognition, Jethro Tull were just a little too strange in that regard. Abrahams was a hardcore blues enthusiast who idolized British blues godfather Alexis Korner, and he was pushing for a more traditional band configuration, which would've put him and his guitar out front. As it turned out, they were both right. Abrahams' blues sensibilities were impeccable, but the audience for British blues by itself couldn't elevate Jethro Tull any higher than being a top club act. Anderson's antics on-stage, jumping around in a ragged overcoat and standing on one leg while playing the flute, and his use of folk sources as well as blues and jazz, gave the band the potential to grab a bigger audience and some much-needed press attention.

They opened for Pink Floyd on June 29, 1968, at the first free rock festival in London's Hyde Park, and in August they were the hit of the Sunbury Jazz & Blues Festival in Sunbury-on-Thames. By the end of the summer, they had a recording contract with Island Records. The resulting album, This Was, was issued in November. By this time, Anderson was the dominant member of the group on-stage, and at the end of the month Abrahams exited the band. The group went through two hastily recruited and rejected replacements, future Black Sabbath guitarist Tony Iommi (who was in Tull for a week, just long enough to show up in their appearance on the Rolling Stones' Rock 'N Roll Circus extravaganza), and Davy O'List, the former guitarist with the Nice. Finally, Martin Barre (b. Nov. 17, 1946), a former architecture student, was the choice for a permanent replacement.

It wasn't until April of 1969 that This Was got a U.S. release. Ironically, the first small wave of American Jethro Tull fans were admiring a group whose sound had already changed radically; in May of 1969, Barre's first recording with the group, "Living in the Past," reached the British number three spot and the group made its debut on Top of the Pops performing the song. The group played a number of festivals that summer, including the Newport Jazz Festival. Their next album, Stand Up, with all of its material (except "Bourée," which was composed by Johann Sebastian Bach) written by Ian Anderson, reached the number one spot in England the next month. Stand Up also contained the first orchestrated track by Tull, "Reasons for Waiting," which featured strings arranged by David Palmer, a Royal Academy of Music graduate and theatrical conductor who had arranged horns on one track from This Was. Palmer would play an increasingly large role in subsequent albums, and finally join the group officially in 1977.

Meanwhile, "Sweet Dream," issued in November, rose to number seven in England, and was the group's first release on Wright and Ellis' newly formed Chrysalis label. Their next single, "The Witch's Promise," got to number four in England in January of 1970. The group's next album, Benefit, marked their last look back at the blues, and also the presence of Anderson's longtime friend and former bandmate John Evan -- who had long since given up the drums in favor of keyboards -- on piano and organ. Benefit reached the number three spot in England, but, much more important, it ascended to number 11 in America, and its songs, including "Teacher" and "Sossity; You're a Woman," formed a key part of Tull's stage repertory. In early July of 1970, the group shared a bill with Jimi Hendrix, B.B. King, and Johnny Winter at the Atlanta Pop Festival in Byron, Georgia, before 200,000 people.

By the following December, after another U.S. tour, Cornick had decided to leave the group, and was replaced on bass by Anderson's childhood friend Jeffrey Hammond-Hammond. Early the following year, they began working on what would prove to be, for many fans, the group's magnum opus, Aqualung. Anderson's writing had been moving in a more serious direction since the group's second album, but it was with Aqualung that he found the lyrical voice he'd been seeking. Suddenly, he was singing about the relationship between man and God, and the manner in which -- in his view -- organized religion separated them. The blues influences were muted almost to nonexistence, but the hard rock passages were searing and the folk influences provided a refreshing contrast. That the album was a unified whole impressed the more serious critics, while the kids were content to play air guitar to Martin Barre's high-speed breaks. And everybody, college prog rock mavens and high-school time-servers alike, seemed to identify with the theme of alienation that lay behind the music.

Aqualung reached number seven in America and number four in England, and was accompanied by a hugely successful American tour. Bunker quit the band to get married, and was replaced by Anderson's old John Evan Smash bandmate Barriemore Barlow (b. Sept. 10, 1949). Late in 1971, they began work on their next album, Thick as a Brick. Structurally more ambitious than Aqualung, and supported by an elaborately designed jacket in the form of a newspaper, this record was essentially one long song steeped in surreal imagery, social commentary, and Anderson's newly solidified image as a wildman-sage. Released in England during April of 1972, Thick as a Brick got as high as the number five spot, but when it came out in America a month later, it hit the number one spot, making it the first Jethro Tull album to achieve greater popularity in America than in England. In June of 1972, in response to steadily rising demand for the group's work, Chrysalis Records released Living in the Past, a collection of tracks from their various singles and British EPs, early albums, and a Carnegie Hall show, packaged like an old-style 78-rpm album in a book that opened up.

At this point, it seemed as though Jethro Tull could do no wrong, and for the fans that was true. For the critics, however, the group's string ran out in July of 1973 with the release of A Passion Play. The piece was another extended song, running the length of the album, this time steeped in fantasy and religious imagery far denser than Aqualung; it was divided at the end of one side of the album and the beginning of the other by an A.A. Milne-style story called "The Hare That Lost His Spectacles." This time, the critics were hostile toward Anderson and the group, attacking the album for its obscure lyrical references and excessive length. Despite these criticisms, the album reached number one in America (yielding a number eight single edited from the extended piece) and number 13 in England. The real venom, however, didn't start to flow until the group went on tour that summer. By this time, their sets ran to two and a half hours, and included not only the new album done in its entirety ("The Hare That Lost His Spectacles" being a film presentation in the middle of the show), but Thick as a Brick and the most popular of the group's songs off of Aqualung and their earlier albums. Anderson was apparently unprepared for the searing reviews that started appearing, and also took the American rock press too seriously. In the midst of a sold-out U.S. tour, he threatened to cancel all upcoming concerts and return to England. Fortunately, cooler heads prevailed, especially once he recognized that the shows were completely sold out and audiences were ecstatic, and the tour continued without interruption.

It was 16 months until the group's next album, War Child -- conceived as part of a film project that never materialized -- was released, in November of 1974. The expectations surrounding the album gave it pre-order sales sufficient to get it certified gold upon release, and it was also Tull's last platinum album, reaching number two in America and number 14 in England. The dominant theme of War Child seemed to be violence, though the music's trappings heavily featured Palmer's orchestrations, rivaling Barre's electric guitar breaks for attention. In any case, the public seemed to respond well to the group's return to conventional length songs, with "Bungle in the Jungle" reaching number 11 in America. Tull's successful concert tour behind this album had them augmented by a string quartet.

During this period, Anderson became involved with producing an album by Steeleye Span, a folk-rock group that was also signed to Chrysalis, and who had opened for Tull on one of their American tours. Their music slowly began influencing Anderson's songwriting over the next several years as the folk influence grew in prominence, a process that was redoubled when he took up a rural residence during the mid-'70s. The next Tull album, Minstrel in the Gallery, showed up ten months later, in September of 1975, reaching number seven in the United States. This time, the dominant theme was Elizabethan minstrelsy, within an electric rock and English folk context. The tracks included a 17-minute suite that recalled the group's earlier album-length epic songs, but the album's success was rather more limited.

The Jethro Tull lineup had been remarkably stable ever since Clive Bunker's exit after Aqualung, remaining constant across four albums in as many years. In January of 1976, however, Hammond-Hammond left the band to pursue a career in art. His replacement, John Glascock (b. 1953), joined in time for the recording of Too Old to Rock 'n Roll, Too Young to Die, an album made up partly of songs from an unproduced play proposed by Anderson and Palmer, released in May of 1976. The group later did an ITV special built around the album's songs. The title track, however (on which Steeleye Span's Maddy Prior appeared as a guest backing vocalist), became a subject of controversy in England, as critics took it to be a personal statement on Anderson's part.

In late 1976, a Christmas EP entitled Ring Out Solstice Bells got to number 28. This song later turned up on their next album, Songs from the Wood, the group's most artistically unified and successful album in some time (and the first not derived from an unfinished film or play since A Passion Play). This was Tull's folk album, reflecting Anderson's passion for English folk songs. Its release also accompanied the band's first British tour in nearly three years. In May of 1977, David Palmer joined Tull as an official member, playing keyboards on-stage to augment the richness of the group's concert sound.

Having lasted into the late '70s, Jethro Tull now found themselves competing in a new musical environment, as journalists and, to an increasing degree, fans became fixated on the growing punk rock phenomenon. In October 1977, Repeat (The Best of Jethro Tull, Vol. 2), intended to fill an anticipated 11-month gap between Tull albums, was released on both sides of the Atlantic. Unfortunately, it contained only a single new track and never made the British charts, while barely scraping into the American Top 100 albums. The group's next new album, Heavy Horses, issued in April of 1978, was Anderson's most personal work in several years, the title track expressing his regret over the disappearance of England's huge shire horses as casualties of modernization. In the fall of 1978, the group's first full-length concert album, the double-LP Bursting Out: Jethro Tull Live, was released to modest success, accompanied by a tour of the United States and an international television broadcast from Madison Square Garden.

The year 1979 was pivotal and tragic for the group. John Glascock died from complications of heart surgery on November 17, five weeks after the release of Stormwatch. Tull was lucky enough to acquire the services of Dave Pegg, the longtime bassist for Fairport Convention, who had announced their formal (though, as it turned out, temporary) breakup. The Stormwatch tour with the new lineup was a success, although the album was the first original release by Jethro Tull since This Was not to reach the U.S. Top 20. Partly thanks to Pegg's involvement with the Tull lineup, future tours by Jethro Tull, especially in America, would provide a basis for performances by re-formed incarnations of Fairport Convention.

The lineup change caused by Glascock's death led to Anderson's decision to record a solo album during the summer of 1980, backed by Barre, Pegg, and Mark Craney on drums, with ex-Roxy Music/King Crimson multi-instrumentalist Eddie Jobson on violin. The record, A, was eventually released as a Jethro Tull album in September of 1980, but even the Tull name didn't do much for its success. Barlow, Evan, and Palmer, however, were dropped from the group's lineup with the recording of A, and the new version of Jethro Tull toured in support of the album. Jobson left once the tour was over, and it was with yet another new lineup -- including Barre, Pegg, and Fairport Convention alumnus Gerry Conway (drums) and Peter-John Vettesse (keyboards) -- that The Broadsword and the Beast was recorded in 1982. Although this album had many songs based on folk melodies, its harder rocking passages also had a heavier, more thumping beat than earlier versions of the band had produced, and the use of the synthesizer was more pronounced than on previous Tull albums.

In 1983, Anderson confined his activities to his first official solo album, Walk into Light, which had a very different, synthesizer-dominated sound. Following its lackluster performance, Anderson revived Jethro Tull for the album Under Wraps, released in September of 1984. At number 76 in the U.S., it became the group's poorest-selling album, partly a consequence of Anderson's developing a throat infection that forced the postponement of much of their planned tour. No further Tull albums were to be released until Crest of a Knave in 1987, as a result of Anderson's intermittent throat problems. In the meantime, the group appeared on a German television special in March of 1985, and participated in a presentation of the group's work by the London Symphony Orchestra. To make up for the shortfall of new releases, Chrysalis released another compilation, Original Masters, a collection of highlights of the group's work, in October of 1985. In 1986, A Classic Case: The London Symphony Orchestra Plays the Music of Jethro Tull was released on record; and Crest of a Knave performed surprisingly well when it was issued in September of 1987, reaching number 19 in England and number 32 in America with the support of a world tour.

Crest of a Knave was something of a watershed in Tull's later history, though nobody would have guessed it at the time of its release. Although some of its songs displayed the group's usual folk/hard rock mix, the group was playing louder than usual, and tracks like "Steel Monkey" had a harder sound than any previous record by the group. In 1988, Tull toured the United States as part of the celebration of the band's 20th anniversary. In July, Chrysalis issued 20 Years of Jethro Tull, a 65-song box set covering Tull's history up to that time, containing most of their major songs and augmented with outtakes and radio performances. In February of 1989, the band won the Grammy Award for Best Hard Rock/Metal Performance for Crest of a Knave. Suddenly, they were stars again, and being declared as relevant by one of the top music awards in the industry, a fact that kept critics buzzing for months over whether the group deserved it before finally attacking the voting for the Grammy Awards and the membership of its parent organization, the National Association of Recording Arts and Sciences.

Rock Island, another hard-rocking album, reached a very healthy number 18 in England during September of the same year, while peaking only at 56 in America, despite a six-week U.S. tour to support the album. In 1990, the album Catfish Rising did less well, reaching only 27 in England and 88 in America after its release in September. And A Little Light Music, their own "unplugged" release, taped on their summer 1992 European tour, only got to number 34 in England and 150 in the United States.

Despite declining numbers, Tull continued performing to good-sized houses when they toured, and the group's catalog performed extremely well. In April of 1993, Chrysalis released a four-CD 25th Anniversary Box Set -- evidently hoping that most fans had forgotten the 20th anniversary set issued five years earlier -- consisting of remixed versions of their hits, live shows from across their history, and a handful of new tracks. Meanwhile, Anderson continued to write and record music separate from the group on occasion, most notably Divinities: Twelve Dances with God, a classically oriented solo album (and a distinctly non-Tull one) on EMI's classical Angel Records.

The band issued the worldbeat-infused Roots to Branches in 1995, followed by the similarly themed J-Tull.Dot.Com in 1999, the latter of which was the group's 20th studio outing. Released in 2003, Jethro Tull Christmas Album, a collection of holiday songs both old and new, turned out to be the group's biggest seller since Crest of a Knave, though it would also be the group's last official album. In 2012 Anderson released a sequel to Thick as a Brick (Thick as a Brick 2). It was followed in 2014 by another Thick as a Brick-related collection of new material, Homo Erraticus, his sixth solo outing. That same year Anderson announced that for the foreseeable future, he would be issuing all his music under his own name. ~ Bruce Eder
full bio

Selected Discography


Track List: Living With The Past (Live)

1. Intro

3. Roots To Branches

4. Jack In The Green

5. The Habanero Reel

6. Sweet Dream

7. In The Grip Of Stronger Stuff

8. Aqualung (Live)

9. Locomotive Breath

11. Protect And Survive

13. Wond'ring Aloud

14. Life Is A Long Song

15. A Christmas Song

16. Cheap Day Return

17. Mother Goose

18. Dot Com

21. Cheerio


Track List: J-Tull Dot Com

1. Spiral

2. Dot Com


4. Nothing At All

5. Wicked Windows

6. Hunt By Numbers

7. Hot Mango Flush

8. El Nino

9. Black Mamba

10. Mango Surprise

11. Bends Like A Willow

12. Far Alaska

13. The Dog-Ear Years

14. A Gift Of Roses


Track List: Roots To Branches

1. Roots To Branches

2. Rare And Precious Chain

3. Out Of The Noise

4. This Free Will

5. Valley

6. Dangerous Veils

7. Beside Myself

8. Wounded, Old And Treacherous

9. At Last, Forever

10. Stuck In The August Rain

11. Another Harry's Bar


Track List: Nightcap

Disc 1

1. First Post

2. Animelee

3. Tiger Toon

4. Look At The Animals

5. Law Of The Bungle

6. Law Of The Bungle Part II

7. Left Right

8. Solitaire

9. Critique Oblique

10. Post Last

11. Scenario

12. Audition

13. No Rehearsal

Disc 2

1. Paradise Steakhouse

2. Sealion Ii

3. Piece Of Cake

4. Quartet

5. Silver River Turning

6. Crew Nights

7. The Curse

8. Rosa On The Factory Floor

9. A Small Cigar

10. Man Of Principle

11. Commons Brawl

12. No Step

13. Drive On The Young Side Of Life

14. I Don't Want To Be Me

15. Broadford Bazzar

16. Lights Out

17. Truck Stop Runner

18. Hardliner


Track List: Catfish Rising

1. This Is Not Love

2. Occasional Demons

3. Roll Yer Own

4. Rocks On The Road

5. Sparrow On The Schoolyard Wall

6. Thinking Round Corners

7. Still Loving You Tonight

8. Doctor To My Disease

9. Like A Tall Thin Girl

10. White Innocence

11. Sleeping With The Dog

12. Gold-Tipped Boots, Black Jacket And Tie

13. When Jesus Came To Play

14. Night In The Wilderness

15. Jump Start (Live)


Track List: Rock Island

1. Kissing Willie

2. The Rattlesnake Trail

3. Ears Of Tin

4. Undressed To Kill

5. Rock Island

6. Heavy Water

7. Another Christmas Song

8. The Whaler's Dues

9. Big Riff And Mando

10. Strange Avenues

13. Locomotive Breath


Track List: Crest Of A Knave (Remaster)

1. Steel Monkey

2. Farm On The Freeway

3. Jump Start

4. Said She Was A Dancer

5. Dogs In The Midwinter

7. Mountain Men

8. The Waking Edge

9. Raising Steam


Track List: Under Wraps

1. Lap Of Luxury

2. Under Wraps #1

3. European Legacy

4. Later That Same Evening

5. Saboteur

6. Radio Free Moscow

7. Astronomy

8. Tundra

9. Nobody's Car

10. Heat

11. Under Wraps #2

12. Paparazzi

13. Apogee

14. Automotive Engineering

15. General Crossing


Track List: The Broadsword And The Beast

1. Beastie

2. Clasp

3. Fallen On Hard Times

4. Flying Colours

5. Slow Marching Band

6. Broadsword

7. P**sy Willow

8. Watching Me Watching You

9. Seal Driver

10. Cheerio

11. Jack Frost And The Hooded Crow

12. Jack A Lynn

13. Mayhem Maybe

14. Too Many Too

15. Overhang

16. Rhythm In Gold

17. I Am Your Gun

18. Down At The End Of Your Road


Track List: Bursting Out (Live)

Disc 1

3. Sweet Dream (Live)

6. One Brown Mouse (Live)

9. Songs From The Wood (Live)

Disc 2

1. Introduction By Ian Anderson (Live)

2. Hunting Girl (Live)

3. Too Old To Rock 'N' Roll: Too Young To Die (Live)

4. Conundrum (Live)

5. Minstrel In The Gallery (Live)

6. Cross-Eyed Mary (Live)

7. Quatrain (Live)

8. Aqualung (Live)

9. Locomotive Breath (Live)

10. The Dambusters March (Live)


Track List: Heavy Horses

1. And The Mouse Police Never Sleeps

2. Acres Wild

3. No Lullaby

4. Moths

5. Journeyman

6. Rover

7. One Brown Mouse

8. Heavy Horses

9. Weathercock

10. Living In These Hard Times

11. Broadford Bazaar


Track List: Songs From The Wood

1. Songs From The Wood

2. Jack-In-The-Green

3. Cup Of Wonder

4. Hunting Girl

5. Ring Out, Solstice Bells

6. Velvet Green

7. The Whistler

9. Fire At Midnight


Track List: War Child

2. Queen And Country

3. Ladies

4. Back-Door Angels

5. SeaLion

6. Skating Away On The Thin Ice Of The New Day

7. Bungle In The Jungle

8. Only Solitaire

9. The Third Hoorah

10. Two Fingers


Track List: Living In The Past

2. Love Story

3. Christmas Song

4. Living In The Past

5. Driving Song

6. Sweet Dream

7. Singing All Day

8. Witches Promise

9. Inside

10. Alive And Well And Living In

11. Just Trying To Be

13. Dharma For One

14. Wond'ring Again

15. Hymn 43

16. Life Is A Long Song

17. Up The 'Pool

18. Dr. Bogenbroom

20. Nursie


Track List: Aqualung

1. Aqualung

2. Cross-Eyed Mary

3. Cheap Day Return

4. Mother Goose

5. Wondr'ing Aloud

6. Up To Me

7. My God

8. Hymn 43

9. Slipstream

10. Locomotive Breath

11. Wind-Up

12. Lick Your Fingers Clean

13. Wind-Up (Quad Version)


Track List: Benefit

1. With You There To Help Me

2. Nothing To Say

3. Inside

4. Son

5. For Michael Collins, Jeffrey And Me

6. To Cry You A Song

7. A Time For Everything?

8. Teacher

9. Play In Time

10. Sossity; You're A Woman


Track List: Stand Up

1. A New Day Yesterday

2. Jeffrey Goes To Leicester Square

4. Back To The Family

5. Look Into The Sun

6. Nothing Is Easy

7. Fat Man

8. We Used To Know

9. Reasons For Waiting

10. For A Thousand Mothers

11. Living In The Past

12. Driving Song

13. Sweet Dream

14. 17


Track List: This Was (Collectors' Edition)

Disc 1

1. My Sunday Feeling

2. Some Day The Sun Won't Shine

3. Beggar's Farm

4. Move On Alone

5. Serenade To A Cuckoo

6. Dharma For One

7. It's Breaking Me Up

8. Cat's Squirrel

9. A Song For Jeffrey

10. Round

11. So Much Trouble

12. My Sunday Feeling

13. Serenade To A Cuckoo

14. Cat's Squirrel

15. A Song For Jeffrey

16. Love Story

17. Stormy Monday

18. Beggar's Farm

19. Dharma For One

Disc 2

1. My Sunday Feeling

2. Some Day The Sun Won't Shine

3. Beggars Farm

4. Move On Alone

5. Serenade To A Cuckoo

6. Dharma For One

7. It's Breaking Me Up

8. Cat's Squirrel

9. A Song For Jeffrey

10. Round

11. Love Story

12. Christmas Song

13. Sunshine Day

14. One For John Gee

15. Love Story

16. Christmas Song


Track List: Minstrel In The Gallery

1. Minstrel In The Gallery

2. Cold Wind To Valhalla

3. Black Satin Dancer

4. Requiem

5. One White Duck/010 = Nothing At All

7. Grace


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This song is a favorite. I like how Pandora sometimes prints the lyrics. Doing so here puts an exclamation point on Ian's genius! They don't make 'em like that anymore...ju s t glad he did when he did. :)
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Tull... early Tull...OMG!! @ the Fillmore East. At 16 - 17 yrs old ...late 60's & tix @ $3.50, $4.50, $5.50...Mezz a n i n e section dead center, 1st row. Looking at the stage, watching with my mouth wide open at Ian Anderson, at the Mike standing on one leg ...the other bent, resting on the one he stood on one second... the next running around like a mad man. Come back to the mic & play a flute solo. Those were great shows. With Mick Abrams, Clive Bunker!!! What a drummer! And what was Abrams next
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One of my fav groups; nobody else like them!
Fav song: Reasons 4 Waiting on Standup CD
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Thick with emotion for me!!! What a wonderful time we had this music back in the day!!!
All the other oldies out there can relate. Peace Love
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Did you forget Clive barker. Pandora. Or is that to far back for you. Guys
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No Stormwatch either !!
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Big Dipper on Too Old to Rock ect.. CD not on Pandora discography . WHY ?? But a 40th anniv Remastered is out NOW !!!
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Why Can't i find the song Big Dipper Riding( we'll give the local lads a hiding)?
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"Metal Minstrel Music"!!
J. Tull - great stuff!
Iron Maiden does a wicked version "Cross Eyed Mary"!!
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One of my fav groups; nobody else like them
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Love Thick As A Brick! But can we get the full 46 minute version of it instead of just the 1st half?
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Saw Jethro Tull 3 times in concert in the 70s' & Ian Anderson just left me mesmerized. What an outstanding musician & when one reads his history it is more than apparent that he has certainly paid dues. Is he not in the hof ?? What a travesty !!!
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Been listening since Stand Up their music is so awesome Jethro Tull rocks
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I wish Ian was my second father. So fricken awesome. Learned music from his dad's records.
James, same name as me.
Totally original. Always experimentin g with music. Saw in concert. No one like him. He is a blessing for any musician.
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I named my son after him also He loves his name and of course so do I. We saw Ian Anderson about 3 years ago together. He was amazing!!
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My dad named me after Ian Anderson.
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My dad names me after Ian. and I'm not complaining.
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Jethro Tull, With You There To Help Me...Deadly Powerful, the ending...
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Little Feat and Tull belong in hof.
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One of the most intelligent rock bands In our lifetime horns flutes drums electric getiars vocals that are real. I'm just saying!!!!!!
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First album i ever bought for myself. To Cry You a Song was getting lots of airplay on the freeform station i was listening to at the time. A great album, second only to Stand Up...
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I once made a comment on a Metallica you tube vid about their vocals sounding like a silly heavy handed imitation of Ian Anderson and got nailed as comparing apples and oranges. I hadn't known that Tull indeed got a heavy metal award over them. I guess I wasn't so far off the mark after all. I noticed Jethro Tull as a kid and always liked that they fit what was into the sound. Neil Young didn't need to sound like Graham Nash and Ian Anderson had his flute. Good is good.
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I loved when Tull got the first Heavy Metal grammy in 1989. Boy, was Metallica pissed! Thank G-d for Ian Anderson's great music and the talented musicians who played it. Especially the years from 1968 to 1989- 21 years of brilliance.
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Thanks for showing a young boy what great music sounded like my entire life
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Thick as a brick/aqualu n g . . . . D D
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Time to dig out the Jethro Tull Xmas CD
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Was my very first concert Nassau coliseum . he has been part of my life before that concert . Anderson s talent is at times overwhelming . His lyrics as followed me threw many of my life's chapters .....steel monkey came out when my son was born. His. Father. Was. That. Steel. Monkey. Farm on freeway. Was. The home I grew up in. And many more...
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Hello! Ian Anderson and Jethro Tull the best band when I grew up in Southern California in the early 70s! Still enjoyed listening to their band today! And my 27-year-old son enjoys it as well! Long live JT!!!!!
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One of my fav groups; nobody else like them
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40 years on, this music never gets old...
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One of my all time favorites. Jethro Tull and Ian Anderson had a huge impact on my life. I married Cross-Eyed Mary and have over the years evolved into Ian's friend Aqualung.... .
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Jethro Tull rocked the70s Aqualung Thick as a Brick Benefict my favorite Albums J T H o f
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tull rocks
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P.S. Up the Pool - never gets old.
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Discovered JT in '72 (middle school) and never let go. Best ever, period. To show the bias in the industry, even my Pandora 70's Rock station, which is seeded with JT and a couple others, only plays a JT tune about once every 2-3 hours. Not a complaint, love Pandora, just an observation.
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Been a raving Tull fanatic since THIS WAS!---It's Beatles then Tull! in my world....... . . . . . . . . . . . .
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@Karen Bachman: Now that Ian Anderson is touring as Ian Anderson plays the Best of Jethro Tull (I believe he has effectively put the band Jethro Tull to bed), were is probably the correct term.
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So is it really correct to open this bio with the words, Jethro Tull were...?
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Saw them in Montreal, Thick as a Brick tour. Ian, everybody, nailed it.
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I was supposed to see Jethro Tull in El Paso the summer of 1972. It was the desert, and the temperature was well over 90 degrees. Since the A/C was not working at the venue (a rodeo venue), the concert was cancelled. We could hear Ian at the gate, whirling like a mad dervish, going on about needing to go on. The concert cancelled and we all went home disappointed . It was festival seating and I would have been one of the first 100 in the audience. Bummer, dudes.
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@jackinthegr n . . . I t ' s almost impossible to have followed the different versions of this group without growing musically along with them. Very well said.
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Aqualung Thick as a Brick
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Too many good memories to list! Thank you
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Chis Squire is the one who made me put down the bass !!
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Part of the Machine !!
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Bungle In The Jungle
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dragonlady60 8 8
Aqualung!!!! ! !
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Tull is one of my favourite bands (top 10)
Martin Barre, Blackmore and David Gilmore are 3 guitar players I have stolen riffs from for many years, it is fair to say, that Barre is my favourite of all time, what you learn from them there is no need to be super fast, and sloppy aka Jimmy Page and others but if you are clean and tasteful you will make a mark for yourself...
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There just aren't too many words that describe how talented these guys are, easily on of the all-time greats!
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