 | This Was (1968)Genres: rock, blues-rock |
review by thomas
Tull's debut album. A blues-tingled affair that's no good, it's just too damn bluesy. The one and only (thank God!) record with guitarist and singer Mick Abrahams. Ian Anderson sings on the bulk of the album, Mick - with his blues voice - sings on the real bluesy tracks. He (Mick) left Tull after this album and started the blues band Bloodwyn Pig. Auditioning to join Ian Anderson and company where no other than Tony Iommi, later of Black Sabbath (Tony actually joined the band for a month or so), before Martin Barre got the job. And with this shit behind them, gold was just around the corner. Only for hardcore Tull fans, if anyone.
 | Stand Up (1969)Genres: rock, progressive rock, folk-rock |
review by thomas
Although one can argue that this album isn't really that progressive - and it isn't - this is certainly one of Tull's best albums. All songs are of high standard, making it hard to point out highs-and-lows. Actually there are no lows. Ian Anderson's flute are in focus on many of the pieces and the group also included some unusual instruments like the recorder, balalaika, mandolin and others. Keyboards are used sparsely since John Evans (the future keyboardist) hadn't joined the band yet. The keyboards played on the album are handled by Anderson.
Some clear folk influences on tracks like "Fat Man" with it's unusual instrument line-up (balalaika, recorder, mouth-organ), "Jeffrey Goes to Leicester Square" a strange little tune and the second song in the trilogy of Jeffrey, and finally the acoustic "Look Into the Sun". Classical inspiration can be heard in the reworking of Bach in "Boureé". We also have a bunch of hard-hitting rock tracks like "Nothing is Easy" and "For a Thousand Mothers". The record is simply a pleasure to the ear(s).
 | Benefit (1970)Genres: rock, progressive rock, folk-rock |
review by thomas
Often described as a low-key, soft and gentle album and in some ways that's true. But included here are also some "tempo furioso" songs like the opener "With You There to Help Me" with an amazing bridge and finish and the flute-pie that's "Play In Time". Speaking of the flute: it's kind of absent on this record. Many of the songs are acoustic or mellow in nature: "Sossity; You're a Woman", "For Michael Collins, Jeffrey and Me", "Inside", "Alive and Well and Livin' In" and "A Time for Everything".
"Son" is a guitar driven song that works really well and "To Cry You a Song" is maybe the most progressive here, pointing to things to come on the "Aqualung" album. John Evans is included here as a guest on keyboards; he became a full member after this album. "Benefit" proved to be bassist Glen Cornick's last album with Tull.
"Benefit" is among the best Tull albums, although it places itself some distance behind the absolutely best Tull records. Essential for Tull fans and a treat for music lovers in general.
 | Aqualung (1971)Genres: progressive rock, hard rock, folk-rock |
review by thomas
One of Tull's most well known albums; if not the most well known. Features the popular songs "Hymn 43", "Locomotive Breath" and the title track. "Hymn 43" was certainly good the first times I heard it but is now just annoying. And "Locomotive Breath" can't be listened to every time one listen to the album, if one do it gets tiresome. The title track still holds through with it's alternately electric and acoustic parts throughout the song. The flute shows up nicely on the second track "Cross-Eyed Mary" which is of high standard, "Up to Me" is quite similar to "Cross-Eyed Mary" and of equally high standard.
The short acoustic songs "Cheap Day Return", "Wond'ring Aloud" and "Slipstream" are masterfully done in a way only Tull/Anderson could do it. The progressive highlight on the record are the long "My God". Heavy with thoughtful lyrics, a more jazzy middle section complete with choir-like vocals and out-of-breath flute playing. The best song all-in-all are the mostly acoustic "Mother Goose" with nice flute playing and whimsical lyrics. The album closes with "Wind-Up", a song that don't say that much to me but it's quite listenable. And not unusual in a Tull album there are some orchestral parts present and as usual the conducting of the orchestra and arrangements for the same are made by David Palmer (David became a full-fledged member of Tull in '76 or '77).
With the classically trained John Evans on keyboards and Jeffrey Hammond-Hammond (yes, it's the same Jeffrey that's referred to in the Jeffrey-trilogy) on bass firmly in the band Jethro Tull headed for their most progressive and artistically fruitful period.
 | Living in the Past (1972)Genres: rock, progressive rock, folk-rock |
review by thomas
Let me say right now that if you love Tull in the early seventies and still don’t have this album… get it. For you who don’t know anything about this album, the material (19 songs on CD [on which my review is based] and slightly more on LP and cassette) is from 1968 up to 1971 and comes in chronological order. Some well known “Tullers” like the title track, “Sweet Dream”, “Locomotive Breath” and “Witch’s Promise” (listed as “Witches Promise”) comes side by side with more obscure – but equally fantastic – ones like “Driving Song”, “Singing All Day” and “Dr. Bogenbroom”.
Almost every song stays within the 2-3 minutes frame. The exception being two 10-minute live tracks from 1970: “By Kind Permission of”, basically a song for a solo piano, and a very reworked “Dharma for One”, now including lyrics. These live tracks are however not so good, neither is “Song for Jeffrey” (which I think is the only song from 1968). The only version of it that I like is to be found on the 25-years anniversary “Aqualung” album. In the end you get almost fifty minutes of Tull in great shape.
A more valid collection of singles A’s and B’s, outtakes, rarities and live tracks is hard to find, I can assure you that.
 | Thick as a Brick (1972)Genres: progressive rock |
review by thomas
With Barrimore Barlow on drums, replacing Clive Bunker, Tull became even stronger in their sound, Barlow being a far better drummer than Clive, technically speaking.
"Thick as a Brick" is one continuous piece of great music. Barlow (drums), Jeffrey Hammond-Hammond (bass), John Evans (keyboards), Martin Barre (guitars) and frontman Ian Anderson (vocals, flutes, acoustic guitar, trumpet, violin, saxophone) expanded their eye-sight in more than one way on this record. The lyrics were stated to be by a twelve year old boy named Gerald Bostock and apparently many people took that "ad notam", of course in reality both the music and lyrics were, as always, written by Anderson.
The music is now highly progressive like Genesis and Yes but not comparable to them in sound. Tull had a sound of their own (maybe, primarily, because of the heavy use of Anderson's trademark - the flute). Especially the keyboards are now the prominent instrument, whilst the former lead instrument - the guitar - taking a bit of a side step. Otherwise the music is typically Tull-ish just expanded, in other words a hybrid of electric and acoustic, of riff based parts and more melodic ones, of majestic power and sublime feeling. And Anderson even introduced us to his saxophone playing; which were to be fully developed on "A Passion Play" and "War Child".
Great stuff! Should be in every prog-lovers collection.
review by daniel
I learned the pleasant way that I had underrated this album. The first version of this review contained as much complaints as praise and I gave the album three stars. Then I gave the album a couple of spins. And then a couple of more. Basically, I rediscovered the album after not listening to it for years. That meant four stars and the first version of the review had to go.
The album starts out fine with the main theme (catchy acoustic guitar and flute combined with Anderson’s pleasant and characteristic “calm mode” voice), before the band arrive with the electric power a few minutes into the piece. It gets energetic and busy, with great performances from all band members. As stated by another reviewer the drums are improved and the keyboards are more prominent on this release, compared to previous releases. I particularly like the organ that adds depth to the sound.
The alternation between calm acoustic passages and electrified rockier ones continues throughout the piece and it works really well most of the time. The band never settles for a mode for more than a couple of minutes and usually that means that they keep your interest with a dynamic and varied sound. On a few occasions it does not work that well, however, and I get the feeling that some of the time changes really are uncalled for (don’t tell the prog police I said that). Another complaint concerns the rockier passages where Ian Anderson’s voice sounds somewhat strained.
Enough said about the faults. There are still some 40 minutes of really good music on the album. Add to that an energetic twelve minute live version of the piece, as a bonus track, and you got a very good album.
 | A Passion Play (1973)Genres: progressive rock |
review by thomas
Like it's predecessor this is just one continuous piece of heavenly music. With the saxophones taking a major part in the music. Barrimore's drumming and the drum sound must be pointed out, it just can't get any better - not likely anyhow. Apart from the heavy use of saxophones "A Passion Play" is not unlike "Thick as a Brick" in it's basic foundation only everything is better, more sophisticated, smoother and not so heavy as "Brick" sometimes can be. On the other hand "A Passion Play" is much darker, in spite of the sometimes jovial atmosphere of the music. The dark and gloomy bites that can creep up on you are mainly coming from the lyrics.
The two parts (side A and B) are abruptly interrupted by a fable-like story about a hare who have lost his spectacles named just "The Story of the Hare Who Lost His Spectacles". It's lyrics are recitated over childrens television-like music. A deserving and amusing intermission; maybe given to make sure you have time to catch your breath before part two. The lyrics were and is stated by many (including Mr.Anderson himself) to deal with life after death in one way or another. Having said this it's up to each one of us to decide whether we agree or not.
A masterpiece! Essential for everybody! One of the very best albums ever made!
 | War Child (1974)Genres: progressive rock |
review by thomas
Released in-between the masterpiece ”A Passion Play” and the classic “Minstrel In the Gallery”, “War Child” got dwarfed by those albums. From a strictly progressive point of view that’s no wonder at first; “War Child” has 10 songs, no song over 6-minute and mostly all the songs follows the ABACAB (verse, chorus, verse, bridge etc.) formula. The album sounds rather disappointing after the first few times of listening. But this album requires plenty of listening before the tea comes down with full flavour.
Tull have never again used the saxophones so heavily as on this record, neither has they used so many different instruments…to my knowledge that is. The orchestra shows up on almost all the songs.
So after a time the simple-sounding songs reveal their true nature; but, alas, not all of them. “Bungle In the Jungle” makes a reversed turn: from being good, with a catchy riff, the first times to becoming dull and boring thereafter. And the last minute of “The Third Hoorah” are quite annoying but otherwise this is a good album that really grows on you if you give it the chance to do so. Maybe not everyones cup of tea (if you really hate the ABACAB formula no matter what, you will have no pleasure out of this album) but fans of Tull will maybe like it, again with reservation since “War Child” sounds like no other Tull album made during the sixties or seventies, its closest kin would be "A Passion Play". NOT the place to start for those who are strangers to Tull. Recommended starting albums are “Minstrel In the Gallery” or “Aqualung” or even “Thick as a Brick”.
 | Minstrel In the Gallery (1975)Genres: progressive rock |
review by thomas
An album full of acoustic moments, yet highly progressive and at times really hard and electric. Take the title track for example: it starts like, well, like a minstrel-thing then transforms into this hard riffing monster with plenty of flute. And “Black Satin Dancer” uses the same formula only more complex and varied. We are also treated with the usual high-standard Tull acoustics – “Cold Wind to Valhalla”, “Requiem” and others. Of course the main focus is on the almost side long “Baker St Muse”. With plenty of loud and soft passages to satisfy even the most fastidious of people. There’s even a part reminding of “A Passion Play” and similar bits on “War Child”, but it’s not long lasting so you don’t have to be afraid of repetition.
The flute is given much space on “Minstrel In the Gallery” and as we are used to the record features some good orchestrations.
Yet another classic one from the Tull camp.
 | Songs From the Wood (1977)Genres: progressive rock, folk-rock |
review by thomas
After Ian produced a Steeleye Span album and after having Span’s Maddy Prior as guest on the previous album Anderson and Tull, perhaps didn’t had to look far for inspiration concerning their next album. So they mixed their progressive rock with folk-rock and came up with “Songs From the Wood”.
This album contains a stronger use of synthesizer since David Palmer – now a full-fledged member – played mostly that and the portative organ. The synthesizer sound is not dated though, it’s done with class and insight to a degree were it became a natural ingredient in the overall sound. The album is a fine one, with the folk-rock and progressive rock mix working well in most songs. The title track, “Hunting Girl”, “Jack-In-the-Green” are all fine and beautiful examples. “Cup of Wonder” is not that exciting and neither are “Ring Out Solstice Bells” which is one of those few really bad Tull songs. “Fire at Midnight” is a quiet and kind of cosy in atmosphere; but not remarkable. It doesn’t say anything at all.
I must compliment Tull for their strive for new sounds and fresh ideas, as in “The Whistler”. Not a very remarkable song in itself but with a new and exciting flute, whistle or whatever it is. And the heavy use of, although not something new, timpani, xylophone, vibraphone and the likes. The long “Phibroch (Cap In Hand)” is not that good in it’s vocalized main parts but it has some amazing classical sounding instrumental parts that make the song quite pleasant. In fact this song is maybe the only one without folk-rock influences. The other “long” song, “Velvet Green” is a real pleasure.
After “Minstrel In the Gallery” something happened to Ian Anderson’s voice, it got strained and hoarse in the higher parts. So his voice is not as good as it once was. This is not a major flaw, you get used to it after a while.
 | Bursting Out (1978)Genres: rock, progressive rock, hard rock |
review by thomas
When releasing their first live album so far into their career it’s almost unavoidable that one starts rambling ‘bout the setlist/songs on the album. I did this myself; why didn’t they play this or that one? This song they played, what were they thinking? And so on. In the end almost every Tull album up to and including “Heavy Horses” have at least one song on the record, the exceptions being “This Was”, “A Passion Play” and “Benefit”.
They mix the obvious ones with some surprises. Obvious ones are “Cross-Eyed Mary”, “Aqualung”, “Locomotive Breath”, “Thick as a Brick” and “Sweet Dream”. Some of these songs Tull still played when I saw them live in 2001 and they even sound pretty much the same now and then. I can add that I’m not really a fan of the live “Aqualung” or “Locomotive Breath”, they are so run-of-the-mill like done, they really sound like Tull have played them for thirty years on every tour – which I think they have; and the version of “Thick as a Brick” sounds more vital and Anderson less tired on the Madison Square Garden version from the same tour included on the remastered version of the “Thick as a Brick” album. Most of the songs – excluding the acoustic set – are beefed up and heavier than their studio kin.
More to it there are some “new” songs, which in fact are nothing else than disguised guitar and drum solos; the two medleys present on the album are not that interesting either (they consist to the greatest part of British traditionals, the kind they play on the “Last Night of the Proms” or whatever that show is called, in other words completely unknown for us outside the UK).
Now I have complained quite a bit here – on this double album there is of course some good stuff too: “Too Old to Rock ‘n’ Roll; Too Young to Die”, “Skating Away…”, the acoustic section, “Hunting Girl” to name a few. And a large portion of “Thick as a Brick” works splendidly. To this comes also the entertainment mind of Ian Anderson, he is in great shape with his Pythonesque humour. The sound is fantastic and the band really tight, the “live feeling” is rather good too.
I find this album to be what one expect from a live album; no more, no less.
 | Heavy Horses (1978)Genres: progressive rock, folk-rock |
review by thomas
Tull returned with another folk-rock inspired album, only this time they looked over the Irish Sea, at the green island for influences as opposed to ”Songs From the Wood” and it’s traditional British folk-rock influences. And “Heavy Horses” came out even better than “Songs From the Wood”.
There are not so much synthesizers on this one as it was on “Songs From the Wood”. None other than Darryl Way, ex Curved Air, did the solo violin parts on the album. “No Lullaby” is without doubt the highlight on this record together with “Weathercock”; “No Lullaby” is a long progressive track without any clear folk-rock sounds. Like on “Songs From the Wood” we’re also treated with some lovely xylophone, vibraphone and timpani work. This is skilfully done on songs as “Weathercock” and “Rover”.
“Heavy Horses” is an album full of overlooked songs as the aforementioned “Weathercock” and “Rover” but also the lovely acoustic “One Brown Mouse” and the acoustic “Moths”. “Moths” is a beautiful piece with a lovely flute sound. “Weathercock” must be the best Tull song I have heard that are so obviously forgotten by almost everyone.
“…And the Mouse Police Never Sleeps” is a humorous song with good flute and organ that works really well as an opening song. “Acres Wild” was, I think, the single from the album and it’s really good. It features violin and mandolin. Considering the musical climate that were ruling in 1978 I don’t think this heavy folk-rock inspired tune did that well on the charts. “Journeyman” is one song that falters; it sounds uninspired and hazy, like it was done in hurry and the long title track sounds repetitious at times but with good guitar riffs and violins.
As I said before, a good album and slightly better than “Songs From the Wood”. On these two albums Tull really took all that is good from the folk-rock scene and incorporated that into the overall sound on these albums. Of course there has always been folk music influences in Tull’s sound but never as much as herein.
 | Stormwatch (1979)Genres: rock, progressive rock |
review by thomas
Back to more basic rock on this ’79 release with such Tull-ish rockers as ”North Sea Oil”, ”Orion”, ”Dark Ages” and ”Somethings on the Move” with plenty of flute and electric guitar. The progressive flag is held high – or at least tried to – with the long “Dark Ages”, “Flying Dutchman” and two instrumentals, but these four could easily be called rock instead of progressive rock. “Dun Ringill” and others are representing the more acoustic side of Tull. In other words a formula much like the “Stand Up” to “Aqualung” era but not as convincing or effective. Here are signs of lack of fantasy, ideas heard a thousand times before (and better), repetition, performances that don’t make it, some really bad guitar licks and orchestration that for the first time in Tull’s history is used to make a song like “Home” a real cheesy “sob-song”. Quite a few touching points with the “Too Old to Rock and Roll – Too Young to Die” record from ’76, a record not held high by myself.
“North Sea Oil”, “Dark Ages” and “Dun Ringill” are the only songs that standout from this uninspiring set of songs but “Stormwatch” should be of interest to Tull fans.
