Jethro tull bibliography

Jethro tull bibliography: Jethro Tull: A History of the

All songs were penned by Ian Anderson and recorded at his home studio. This marks the last Tull album with Dave Pegg on bass and the first with keyboardist Andrew Giddings as an official member. It was also their final album under long-time label Chrysalis Records. A remastered edition was released in January Although they did release a Christmas album init featured a mix of new songs, re-recordings, and traditional Christmas music arrangements.

With its release, Jethro Tull continues to push the boundaries of their signature sound, incorporating elements of blues rock, jazz fusion, English folk, hard rock, and classical music.

Jethro tull bibliography: His success led to the publication

Thanks for Visit! Tags: Albums. July 18, September 15, July 2, Download as PDF Printable version. In other projects. Wikidata item. Cataloguing of published recordings by Jethro Tull. Albums [ edit ]. Studio albums [ edit ]. Live albums [ edit ]. Compilation albums [ edit ]. Extended plays [ edit ]. Singles [ edit ]. Videos [ edit ].

References [ edit ]. London: Guinness World Records Limited. ISBN Australian Chart Book — illustrated ed. St Ives, N. Drummer Barrie Barlow [ 12 ] and guitarist Mike Stephens were recruited from local band the Atlantics, [ 13 ] [ 14 ] guitarist Chris Riley [ 14 ] joined and the band developed into a six-piece " blue-eyed soul " group called the John Evan Band later the John Evan Smash.

Evans had shortened his surname to "Evan" at the insistence of Hammond, who thought it sounded better. They recruited Johnny Taylor as a booking agent and played gigs around northwest England, [ 15 ] performing a mixture of blues and Motown covers. In November the band moved from the north of England to LutonBedfordshire, 30 miles 48 km from central London, and signed a management deal with Terry Ellis and Chris Wright.

They replaced Smith with guitarist Mick Abrahams[ 20 ] but quickly realised that supporting a six-piece band was financially impractical and disbanded. Anderson, Abrahams, and Cornick stayed together, recruited Abrahams's friend Clive Bunker on drums, [ 21 ] and became a British blues band. At first, the new band found it difficult to obtain repeat bookings.

Anderson recalled looking at a poster at a club and realising that the band name he did not recognise was theirs. The name stuck because they were using it when the manager of the Marquee Club liked their show enough to give them a weekly residency. He said if he could change one thing in his life, he would go back and change the name of the band to something less historical.

The band recorded a session with producer Derek Lawrence which resulted in the single "Sunshine Day". Anderson possessed a large overcoat which his jethro tull bibliography had given to him with the words "You'd better take this. It's going to be a cold winter. Anderson had purchased a flute after becoming frustrated with his inability to play guitar as well as Abrahams or Cream guitarist Eric Clapton.

Their managers had wanted him to remain a rhythm guitarist, with Abrahams as the front man, [ 33 ] and Anderson said later:. I didn't want to be just another third-rate guitar player who sounded like a plethora of other third-rate guitar players. I wanted to do something that was a bit more idiosyncratic, hence the switch to another instrument.

When Jethro Tull began, I think I'd been playing the flute for about two weeks. It was a quick learning curve The group got their first major break at the National Jazz and Blues Festival at Sunbury-on-Thames in Augustwhere they drew a rapturous reception and positive reviews in the music press. They said their success at Sunbury was a result of persistent touring, which had generated a grassroots following who came to the festival and encouraged the rest of the audience.

Cornick recalled, "From that moment on, we were a big band". The group recorded their first album, This Wasbetween June and August Released in Octoberit reached number 10 in the UK charts. Following the album's release, Abrahams left the band in December to form his own group, Blodwyn Pig. Abrahams had heard that Ellis wanted Anderson to be the frontman and group leader, at his expense, and he realised that he was unlikely to have the majority share in songwriting.

The group tried several replacements for Abrahams. The first was David O'Listwho had recently left the Nice. After a week's rehearsal, O'List did not show up and lost contact with the group. The next choice was Mick Taylorwho turned the group down because he felt his current gig with John Mayall's Bluesbreakers was a better deal. Iommi had impressed Jethro Tull when Earth opened for them at a show in Birmingham; he briefly joined the band, but he quit after a few weeks and returned to Birmingham to rejoin Earth, feeling closer to his old band.

The rest was mimed to the studio track, which featured Abrahams' guitar playing. The next choice was Martin Barrewho had seen the band perform at Sunbury [ 45 ] and had auditioned for guitarist at the same time as Iommi. Barre arranged a second audition, and Anderson showed him new songs in a different style from the blues they had been recording.

Anderson was impressed by Barre's technique and offered him the job. The result was " Living in the Past ", which reached No. Anderson had now established himself as leader and songwriter and wrote all the material for the album, except for his jazzy rearrangement of J. Immediately after releasing Stand Upthe group set off on their first headlining tour of the US, which included an appearance at the Newport Jazz Festival.

He was initially reluctant to rejoin the band because of his studies, which gave him access to a free studio, [ 57 ] but he had played as a session musician on Tull's next album, Benefitand when Anderson needed someone to play the keyboard parts on tour, his tutor persuaded him that rejoining would be a good idea. He died in August Anderson invited Jeffrey Hammond to replace Cornick, buying him a new jethro tull bibliography for the purpose.

The album was split into two parts, subtitled "Aqualung" and "My God", and featured among other things Anderson's views on organised religion. On " Locomotive Breath ", Anderson recorded the backing track by himself, singing to a hi-hat accompaniment, and the rest of the band added their parts later. Drummer Clive Bunker quit the group in May[ 70 ] [ 71 ] citing heavy touring schedules and his wish to spend more time with his family.

Bunker was replaced by Barrie Barlowwhom Anderson renamed "Barriemore". The move put strain on Anderson's marriage to his first wife, which lasted for another year before they divorced. Anderson became annoyed with music critics who described Aqualung as a concept albumwhich he had not intended it to be. It's an album of varied songs Living in the Past was also released in ; it is a double- album compilation of remixed singles, B-sides and outtakes, including the entirety of the Life Is a Long Song EP, which closed the album.

They returned to England where in early they recorded and released A Passion Playanother single-track concept album, with allegorical lyrics focusing on the afterlife and, like Thick as a Brickcontaining unusual instrumentation. A Passion Play sold well but received poor reviews, including a particularly damning review of a live performance from Chris Welch of Melody Maker.

While the band's popularity with critics began to wane, their popularity with the record-buying public remained strong, as was seen by the high sales figures of their follow-up album, 's War Child. Originally intended for the soundtrack of a film, [ 85 ] War Child reached number two on the US Billboard chartswas given critical acclaim and produced two singles, " Bungle in the Jungle " 12 on the US singles chart and " Skating Away on the Thin Ice of the New Day ".

It also included a short acoustic song with satirical lyrics, "Only Solitaire", which was believed to have been aimed at L. Anderson said later that the song was written before Hilburn's review and was aimed at music critics in general. The War Child tour included a jethro tull bibliography string quartet playing on the new material.

In the band released Minstrel in the Galleryan album in the style of 's Aqualungwhich contrasted softer, acoustic guitar-based pieces with lengthier, more bombastic works reinforced by Barre's electric guitar. Written and recorded during Anderson's divorce from his first wife Jennie Franksthe album was characterised by a more introspective tone and received mixed reviews.

It is a concept album about the life of an ageing rocker. On the Bursting Out live version of "Too Old to Rock 'n' Roll", released two years later, Anderson denies that the song is about himself. Glascock made his first appearance as bassist with Tull on this album, and also contributed harmony and second vocals. Palmer continued as arranger, and appeared as a guest keyboard player on two songs.

A television special was recorded showing the development of the album's concept in a live show, with the band dressed in tongue-in-cheek outfits, but was never officially released. Songs from the Wood was the first Tull album to receive generally positive reviews since the release of Living in the Past Although Jethro Tull were not formally considered to be part of the folk-rock movement, which had begun nearly a decade earlier with Fairport Conventionthere was clearly an exchange of musical ideas among Tull and the folk rockers.

The band continued to tour and in released a live double album, Bursting Outwhich had been recorded during the European leg of the Heavy Horses tour. Tull's third folk-influenced album, Stormwatchwas released in During the making of the album, Glascock suffered major health problems related to open-heart surgery from the previous year and Anderson played bass on much of the album.

Jethro tull bibliography: Here you can see

After the release of StormwatchFairport Convention bassist Dave Pegg was hired for the ensuing tour, during which Glascock died from heart complications at his home in England. Following the Stormwatch tour in earlyBarlow, Evan, and Palmer left the band. Barlow was said to have been depressed after Glascock's death, and Evan and Palmer were having to reconsider their future after Anderson had announced that he wanted to record a solo album.

Evan and Palmer both recalled being dismissed by letter. The first album of the s was intended to be Anderson's first solo album, but after pressure from Chrysalis Records he agreed to release it as a Jethro Tull album. The album featured prominent use of synthesisers and its style contrasted sharply with the established Tull sound. It was given the title Ataken from the labels on the master tapes of the scrapped solo album, which were marked "A" for "Anderson".

A was released in mid The album stands as the only Jethro Tull album to feature Mick Abrahams on guitar. Additionally, it was the only Jethro Tull album to feature lead vocals on a track done by someone besides Ian Anderson. This album blends elements of folk music with hard rock, creating a unique and enduring style. The musicians on Aqualung included Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, Clive Bunker on drums and percussion, Jeffrey Hammond credited as Jeffrey Hammond-Hammond on bass guitar, and John Evan on piano and organ.

Critically, Aqualung was a triumph, receiving widespread acclaim for its bold conceptual themes and musical complexity. It has since been regarded as a classic of the progressive rock genre, influencing many bands that followed. Thick as a Brickreleased inis renowned for being one of the most ambitious and iconic progressive rock albums of its time.

Jethro Tull took a daring approach with this album, crafting it as a continuous piece of music that spans both sides of the vinyl, a stark contrast to their previous albums which contained distinct, individual songs. This bold conceptual design was a jethro tull bibliography to the contemporary trend of progressive rock bands producing concept albums.

The line-up for Thick as a Brick featured Ian Anderson on jethro tull bibliographies, flute, violin, and saxophone, Martin Barre on electric guitar and lute, John Evan on piano and organ, Jeffrey Hammond credited as Jeffrey Hammond-Hammond on bass guitar, and Barriemore Barlow on drums and percussion. Critically, Thick as a Brick was both celebrated and debated.

It was seen as a parody of the concept album genre, yet it was also admired for its musical complexity and lyrical depth. Despite its unconventional structure, the album was a commercial success, reaching number 1 on the US Billboard and number 5 on the UK Albums Chart. A Passion Playreleased inis another ambitious and complex album by Jethro Tull, following the conceptual and musical footsteps of their previous work, Thick as a Brick.

This album is structured as a continuous piece of music, divided into two parts, each occupying one side of the original vinyl release. The line-up for this album included Ian Anderson on vocals, flute, saxophone, and acoustic guitar, Martin Barre on electric guitar, John Evan on piano and organ, Jeffrey Hammond credited as Jeffrey Hammond-Hammond on bass guitar, and Barriemore Barlow on drums and percussion.

Critically, A Passion Play received mixed reviews upon its release. While some praised its ambitious nature and the technical proficiency of the band, others found it overly complex and challenging to engage with. However, despite these mixed critiques, the album achieved significant commercial success, reaching number 1 on the US Billboard and number 13 on the UK Albums Chart.

War Childreleased inmarked a return to a more traditional song structure for Jethro Tull, following their experiments with continuous music in Thick as a Brick and A Passion Play. War Child was initially conceived as a soundtrack for a film project, which was eventually abandoned, leading the band to adapt the material into a standalone album.

The recording sessions for War Child were conducted in the summer of at Morgan Studios in London. Critically, War Child was well-received, noted for its eclectic mix of styles, ranging from orchestral arrangements to hard rock. The lineup on Minstrel in the Gallery featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, John Evan on piano and organ, Jeffrey Hammond credited as Jeffrey Hammond-Hammond on bass guitar, and Barriemore Barlow on drums and percussion.

This ensemble of musicians delivered a performance that skillfully combined the intensity of rock with the delicacy of folk music. Critically, Minstrel in the Gallery was well-received, with particular praise for its sophisticated musical arrangements and lyrical depth. This album, the ninth studio release by the band, is known for its more accessible rock sound, contrasting with their earlier, more complex progressive rock compositions.

The lineup for this album featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, John Glascock on bass guitar, John Evan on piano and organ, and Barriemore Barlow on drums and percussion. Songs from the Woodreleased inis a seminal album by Jethro Tull that marked a significant shift towards a more folk-influenced sound.

The lineup on Songs from the Wood featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, John Glascock on bass guitar, John Evan on piano and organ, and Barriemore Barlow on drums and percussion. Critically, Songs from the Wood was highly praised for its inventive approach to merging different musical genres.

The album is also noted for its lyrical depth, exploring themes of nature, folklore, and rural life. Heavy Horsesreleased inis an exceptional album by Jethro Tull that continues the folk-rock trajectory established by its predecessor, Songs from the Wood. This album delves deeper into the celebration of the British countryside, rural life, and traditional values, with a particular emphasis on the majesty and symbolism of the heavy horse breeds once common in English agriculture.

The album seamlessly blends elements of acoustic folk music with the more robust sounds of progressive rock, creating a distinct and evocative listening experience. The lineup for this album featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, John Glascock on bass guitar, John Evan on keyboards, and Barriemore Barlow on drums and percussion.

This album introduces a darker, more somber tone compared to its predecessors, reflecting themes of environmental issues, the perils of the sea, and socio-political commentary. The recording of Stormwatch took place at Maison Rouge Studio in London, during the early months of The lineup for Stormwatch featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, John Glascock on bass guitar, John Evan on keyboards, and Barriemore Barlow on drums and percussion.

Critically, Stormwatch received mixed reviews upon its release. Some praised the album for its bold thematic content and musical experimentation, while others felt it lacked the cohesiveness and charm of the earlier folk-oriented albums. Originally intended as a solo project by Ian Anderson, the album was eventually released under the Jethro Tull name, leading to a significant stylistic change for the band.

This transition reflected the broader musical trends of the early s, with an increased focus on electronic instrumentation and a more modern rock sound. The lineup for A featured a mix of familiar and new faces. Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, and new members Dave Pegg on bass guitar and Mark Craney on drums.

Critically, A received mixed reactions. This album strikes a balance between the synthesizer-driven approach of the early s and the more acoustic, folk-influenced sound of their s work. The thematic content of The Broadsword and the Beast combines medieval and fantasy imagery with contemporary concerns, creating a rich tapestry of storytelling.

The recording of the album took place in the latter part of at Maison Rouge Studios in London. Ian Anderson, continuing his role as the primary creative force behind the band, produced the album, infusing it with a mix of modern and traditional musical styles. This lineup adeptly navigated the diverse styles present in the album, from the electronic-infused rock tracks to the more folk-oriented songs.

Critically, the album was well-received, praised for its synthesis of electronic and folk elements and its imaginative lyrical content. This shift reflects the musical trends of the s, with a prominent use of synthesizers and drum machines, diverging significantly from the folk and progressive rock elements that characterized much of their earlier work.

Under Wraps is notable for its exploration of themes around espionage and modern warfare, lending a cold war era atmosphere to the album. Anderson, who had always been at the creative helm of the band, produced the album, embracing the technological advancements in music production of the time. The lineup for this album saw a departure from traditional rock instrumentation, with a significant focus on electronic sounds.

Ian Anderson handled vocals, flute, and synthesizers, Martin Barre on electric guitar, Dave Pegg on bass guitar, and Peter-John Vettese on keyboards and synthesizers. Critically, Under Wraps received mixed reviews. However, it was less successful than some of their previous albums, reflecting the divisive response from fans and critics alike. Crest of a Knavereleased inmarked a significant comeback for Jethro Tull, blending elements of their classic rock sound with the more modern influences that had characterized their s work.

This album saw the band returning to a more guitar-oriented sound, moving away from the heavy use of synthesizers and electronic elements that had defined their previous albums like Under Wraps. Crest of a Knave is often celebrated for its successful fusion of traditional rock with contemporary production techniques. Anderson, who had always been a key creative force in the band, produced the album, steering its artistic direction towards a synthesis of classic and modern rock elements.

The lineup for this album included Ian Anderson on vocals, flute, and guitar, Martin Barre on electric guitar, and Dave Pegg on bass guitar. Notably, due to jethro tull bibliography issues, Anderson was unable to play the flute extensively on this album, leading to a greater emphasis on the guitar. Drum parts were programmed by Anderson and Barre, as the band did not have a permanent drummer at the time.

Critically, Crest of a Knave was well-received, lauded for its strong compositions and rejuvenated sound. The lineup for this album featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, Dave Pegg on bass guitar and mandolin, and Doane Perry on drums. Critically, Rock Island received mixed reviews. Commercially, the album achieved moderate success.

Their collective musicianship facilitated a dynamic exploration of various musical terrains, from the upbeat and hard-hitting to the lyrical and introspective. Commercially, the album performed modestly, reflecting the changing musical tastes of the early s. Roots to Branchesreleased inis a Jethro Tull album that marks a return to a more progressive and world music-influenced sound, blending the traditional with the contemporary.

The lineup for this album featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, Dave Pegg on bass guitar, and Doane Perry on drums.

Jethro tull bibliography: Origins · Early years

Critically, Roots to Branches was praised for its intricate musical compositions and the successful integration of diverse musical influences. It reached number 20 on the UK Albums Chart, reflecting a positive reception among fans and critics. Released inthis album marked a new chapter for the band, venturing further into the world music influences hinted at in their previous release, Roots to Branches.

Musically, J-Tull Dot Com is a vibrant tapestry. The former blends driving rock with swirling Middle Eastern melodies, while the latter incorporates electronic beats and samples alongside traditional instrumentation. Lyrically, the album explores a range of themes. Some critics praised its adventurous spirit and global influences, while others found it lacking the focus and cohesion of earlier works.

However, it has gained a dedicated following over the years, appreciated for its unique sound and willingness to take risks. The album features a unique mix of original compositions and re-imagined Christmas classics. Musically, the album is a delightful surprise. Expect intricate instrumental passages, jazzy improvisations, and moments of pure rock energy.

Some found the blend of styles a bit jarring, but most agreed it was a welcome departure from typical Christmas fare. Thematically, the album delves into the complexities of faith and religion, exploring both their potential for solace and their capacity for division and conflict. It is a follow-up to The Zealot Gene This is the shortest gap between Jethro Tull studio albums since No Lullaby 3.