jethro tull thick as a brick tour 1972

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Jethro Tull

• July 1, 1972 Setlist

Jethro Tull Setlist at Honolulu International Center, Honolulu, HI, USA

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Tour: Thick as a Brick Tour statistics Add setlist

• "Thick as a Brick" perfomance
• Thick as a Brick ( full 45-min. suite ) Play Video
• Cross-Eyed Mary Play Video
• A New Day Yesterday Play Video
• Aqualung Play Video
• Wind-Up Play Video
• Guitar Solo Play Video
• Locomotive Breath Play Video
• Hard-Headed English General ( Unreleased, a work-in-progress tour song ) Play Video
• Wind-Up (reprise) Play Video

Note: Complete, one-hour "Thick as a Brick" perfomance, incl. flute solo (with "God Rest Ye Merry Gentlemen", "Soirée" and "Bourée" fragments), organ solo (with "By Kind Permission of..." piano quotations), drum solo and spoken "News & Weather" interludes.

Edits and Comments

8 activities (last edit by Starbreaker , 15 Apr 2018, 08:04 Etc/UTC )

Songs on Albums

• Cross-Eyed Mary
• Locomotive Breath
• Wind-Up (reprise)
• Guitar Solo
• A New Day Yesterday
• Thick as a Brick
• Hard-Headed English General

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Jethro Tull Gig Timeline

• Jun 29 1972 Denver Coliseum Denver, CO, USA Add time Add time
• Jun 30 1972 Denver Coliseum Denver, CO, USA Add time Add time
• Jul 01 1972 Honolulu International Center This Setlist Honolulu, HI, USA Add time Add time
• Jul 05 1972 Auckland Town Hall Auckland, New Zealand Add time Add time
• Jul 07 1972 Festival Hall Melbourne, Australia Add time Add time

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Jethro Tull Detail THICK AS A BRICK 50th Anniversary Edition

In 1972, Jethro Tull released the instant classic, Thick As A Brick . 50 years on, and the album is still revered as one of rock’s--and progressive rock’s--most definitive and pioneering albums. It featured a rock first: one continuous song on both sides. Thick As A Brick came about following the release of Jethro Tull’s immensely successful previous album Aqualung . Upon its release, Aqualung was regarded as a concept album in the music press, and in response the band set about to respond to the rock critics with the ultimate concept album, culminating in Thick As A Brick .

To celebrate the 50th anniversary, Thick As A Brick has been reproduced in its original format, the legendary 12-page newspaper. The vinyl is a half-speed master of Steven Wilson’s 2012 remix. It can be pre-ordered here from today, with it releasing on 29th July. Further to this, the rare and coveted 40th anniversary CD/DVD special collector’s edition will also be available to pre-order today after being out of print for nearly ten years, and will be released on October 7th.

Unlike any other records on the market, the album is set inside a broadsheet newspaper, “The St. Cleve Chronicle & Linwell Advertiser”. The newspaper includes many news articles packed full of continuing jokes, a crossword, connect-the-dots and much more. It was originally written by Ian Anderson, Jeffrey Hammond and John Evan, with the newspaper taking longer to put together compared to the music. As reported in the paper, the lyrics were credited at the time to the fictitious child character, Gerald Bostock, whose parents supposedly lied about his age. Amongst the many articles is a frank review of the album itself. Thick As A Brick was the first album to feature drummer Barrie Barlow, who featured alongside Ian Anderson, Martin Barre, John Evan and Jeffrey Hammond.

A must for any record collection, the album is a half-speed master of Steven Wilson’s 2012 remix, providing the ultimate audio experience of the progressive rock classic.  By cutting at half speed you give the cutting stylus as well as the whole system twice as long to record the mechanical groove, which hugely improves the quality.

Vinyl Tracklisting

Side A: Thick As A Brick (Pt. I)

Side B: Thick As A Brick (Pt. 2)

CD/DVD Contents -    New stereo and 5.1 mixes by Steven Wilson -    Original 1972 recording at Morgan Studios by Robin Black The book contains: -    The original newspaper rebuilt for the 12 x 12 format on 16 pages of newspaper style paper (but more durable). -    The 2012 newspaper printed on gloss paper -    An article by Classic Rocks’ Dom Lawson about ‘Thick As A Brick’ -    An Ian Anderson interview conducted by The Reverend George Pitcher -    Many rare 1972/73 photos from photographers Didi Zill and Robert Ellis covering ‘street’ and live situations and 2012 tour photos by Martin Webb. -    Memories of the recording from engineer Robin Black. -    Recording and touring memories from Martin Barre, Ian Anderson and Jeffrey Hammond. -    A Q & A with tour manager Eric Brooks with tour memorabilia and the full 1972 itinerary.

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Thick As A Brick

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1972: Jethro Tull - Thick As A Brick

The albums which will be reviewed are either milestones in the history of progressive rock, or good examples of the catalogue of a certain band. Of course, we cannot review every special album and we cannot satisfy everyone's taste with our choices, which will be revealed over the year.

Our goal with this list of albums, is to show the quality and the diversity of different groups and different styles. So you won't find 6 Pink Floyd-albums, or 5 Genesis-albums, even though these bands have recorded many classics.

On this list, (almost) every week a new year is reviewed. For some years we will use two weeks, but at the end of December we will have reviews of every year, including the "dark" eighties...

We hope you will have lots of fun in the coming weeks with this selection of special albums that had been selected by the DPRP-team, especially for you!

Jethro Tull's fifth album gave them a worldwide break-through (although their fourth album Aqualung was already very well-known by music lovers).

Based on the Thick As A Brick poem written (or so it was announced) by the (at that time) 8-year-old Gerald Bostock this was the first progressive rock album I ever heard (through my dad). And it is probably my all-time favourite album!

With Thick As A Brick , Jethro Tull in 1972 released their first true concept album. It consists of a whole of several varying pieces of music, linked to each other with practically no intervals. Some of the musical themes are repeated in a different setting. Different musical approaches are combined: folk, rock, jazz and classical elements.

The lyrics consist of one long poem, written by fictitious child prodigy Gerald Bostock, who shares his so-called views on society with us. When looking more closely at the lyrics, eleven different "acts" or parts can be distinguished, or, as Paul Tarvydas has put it, "a series of vignettes which swirl about a central theme". It is the music itself that connects these acts. (On A Passion Play it's just the other way around: on that album the story is the connecting factor, not the music).

The main themes are an elaboration and further exploration of the themes in Aqualung , as we will see below. The central theme of the album however is: a description of how society stifles individuality and pigeonholes people to suit its own needs.

In spite of the fact that the lyrics were heavily criticized by the press, the album made the band very popular in Europe and America and is even by "adversaries" considered as "a classic case".

A Little Jethro Tull History

(Written by Rodney Quill, May 1999. Taken from the official website, used by permission.)

In the latter months of 1967, four shaggy wannabe's congregated in the Southern UK town of Luton, Bedfordshire. The naive, untutored talents of Ian Anderson, Mick Abrahams, Glenn Cornick, and Clive Bunker tentatively coalesced to form the original Jethro Tull line-up. The group established themselves as the new resident band at London's famous Marquee club, albeit after a few false start identities ("Navy Blue", "Ian Henderson's Bag 'o Blues", "Jethro Toe", and the certainly suicidal "Candy Coloured Rain"). By March 1968, they had built a following as the new face of the blues-based British underground music scene. Lines stretched around the block on a Thursday night when they performed at the Marquee.

Following appearances in Hyde Park and at the Sunbury Jazz and Blues Festival in the summer of '68, the band gained wider recognition with the release of the album This Was which, whilst paying homage to the blues heritage which they all revered, hinted at the broader influences which were to become apparent in the post-Mick Abrahams times to follow.

After personal and musical differences, original guitarist Mick Abrahams left and the Tull boys embarked, with the then unproven replacement Martin Barre, on the recording of the landmark album Stand Up at the beginning of 1969.

Happily, the new record, Stand Up proved to be a great success, and lead the way to new opportunities in Europe and the USA. Ian Anderson's influences of classical, jazz, folk and ethnic music forms made the eclectic result an early landmark for the band, reaching number one in the UK album charts.

Tull, initially in the shadow of Led Zeppelin and others, then began the explosive ascent to the lofty heights of US stardom, culminating during the next three years in the cover stories of Time and Rolling Stone magazines, five nights at the Forum in Los Angeles and three nights at Madison Square Gardens, New York.

A few hit singles livened up the band's early career, amongst them, Living In The Past , written during the first US tour early in 1969, to keep warm the reputation back home in the UK. However, it was the albums as a whole which provided the strength for the developing Jethro Tull, containing as they did, not one, but usually several classic rock radio-friendly tracks to keep the band's profile high between concert tours and new releases.

Aqualung , and the so-called concept albums Thick As A Brick and A Passion Play confirmed the progressive rock tag which complemented other terms like "art-rock", "blues-rock", "folk-rock", and "hard-rock", depending on the critics' personal views of the often-complex musical thought trains of flautist and singer, Ian Anderson.

The first rock act since the Beatles to perform at Shea Stadium, New York, Tull laid claim to the live concert throne in North America. Howard Stern studiously learned the lyrics to Aqualung . Elton John set about regaining the title of most-people-played-to in major US cities. Bill Clinton wisely chose saxophone over the flute.

With two US number one albums and world-wide chart and sales success behind them, the band began to remove itself from the more commercially-driven side of recording and touring. Through the latter part of the 70s and into the 80s and 90s, their records and tours have proved throughout the world the enduring artistic credibility of a band continually able to reinvent itself.

The band's popularity extended into parts of the world where rock music had not hitherto been encouraged and the Tull legend from Buenos Aires to Budapest took root, eventually to be rewarded by the many tours in places where other acts feared, or simply did not care, to tread.

Drummer Doane Perry, and more recently, keyboard-player Andrew Giddings and bassist Jonathan Noyce have brought their unique and valuable contributions to the line-up to join the ever-ready mainstay guitarist Martin Barre who, like Anderson himself, has provided the continuity and legacy of the earlier years.

With 60 million albums sold and over 2500 concerts played in 40 countries, the band continue to record and perform, typically 100 shows to around 300,000 people each year throughout all the major rock and roll territories of the world.

More tours and record releases are planned for 1999 and doubtless, hundreds of thousand of fans of all ages will thrill to the trill of flute, and twirl to the twang of string over humbucker. Critics will gripe and grumble, and contemporary radio will say, "Who? Thought they quit years ago to go fish-farming."

Still, what do they know? Well, go tell them.

After this article was published in 1999, the article index somehow got messed up when DPRP moved to another server, and it was unavailable for some time. During that time, John J Shannon wrote another article on Thick As A Brick that got published in the Milestones series in 2004 .

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Jethro Tull ‘Thick As a Brick’: Don’t Sit This One Out

Either way, Thick as a Brick proved an extraordinary success that, ironically, is one of the few prog classics that doesn’t sound like a parody today. Equal parts ambitious and meticulous, it’s a smartly produced collage whose appeals remain undimmed.

It was late 1971, and Jethro Tull was enjoying the success of that year’s Aqualung , which had climbed as high as #7 on the Billboard album chart. As the band’s driving creative force, Anderson was nonetheless perplexed at the reaction to his group’s fourth record, which he believed was mistaken in calling it a “concept album”—to him, any through-line was coincidental, and people in search of greater meaning were reading too much into it.

Listen to “Tales of Your Life,” a track from Thick As a Brick

Progressive rock was in fashion, and to Anderson’s thinking, bands like Yes, Emerson. Lake and Palmer and Genesis were making music whose affectations bordered on pretentious. Anderson determined to answer those who thought Aqualung a concept record by giving them a real one—and, in the process, lampooning the pomposity of bands that were then making hay with outsized conceptual fare.

Jethro Tull in 1973 on their ‘Thick As a Brick’ tour (Photo by Heinrich Klaffs, from Wikipedia; used with permission)

Thick as a Brick is multimedia circa the Stone Age, music married to a newspaper. The album’s sleeve was printed as a custom (and wholly fictional) 16-page paper, the January 7, 1972, edition of The St. Cleve Chronicle & Linwell Advertiser . Anderson drove its articles as personally as he did the vinyl’s contents, writing most with help from Tull keyboard player John Evan and bassist Jeffrey Hammond. Its primary feature is the story of eight-year-old boy Gerald (Little Milton) Bostock, who, after using inappropriate language on BBC Television, is stripped of a poetry award and declared to possess an “extremely unwholesome attitude towards life, his God and Country.” The unsuitable poem, printed on page 7, is the album’s lyrics.

Listen to “You Curl Your Toes in Fun/Childhood Heroes/Stabs Instrumental”

While amusing for its content and relative extravagance, the newspaper is ultimately of minor importance to the record’s overall experience. Designed as individual songs but delivered as a single assembly of suites with connective tissue between, Thick as a Brick was created in two weeks of recording in late 1971, during which Anderson wrote material between sessions, starting with lyrics and then developing accompanying music, and the band learned a new piece each day, stacked upon what it had previously worked out. Although the work found its way in real time, the ultimate product is not loose, perhaps because the process used even more time for overdubs and mixing, where a lot of work clearly was done.

Jethro Tull in a 1972 promotional photo. Ian Anderson is front and center

Released March 3, 1972, the album features two tracks by necessity: “Thick as a Brick (Part 1)” on one vinyl side, and “Thick as a Brick (Part 2)” on the other (even with the advent of CDs, the split remained in place—what’s done was done). A 40th anniversary reissue of the record separated the whole into eight pieces composed of 13 total sections, with individual titles that are useful for discussing specific sections.

The record introduces “Really Don’t Mind” with an easygoing acoustic guitar line, to which Anderson applies an equally matter-of-fact vocal. His lightly prancing flute soon affirms the band’s identity, adorning a folk-leaning jaunt alongside an acid lyrical edge. After three reasonably tranquil minutes, rock takes over with “See There a Son is Born.” Frenetic and propulsive, it’s a song in a hurry to get where it’s going, with Evan’s organ and the whining accents of Martin Barre’s guitar as fuel. An audio smorgasbord, it becomes a movable feast when Barre’s hearty electric dressing migrates from right to left in the mix just before the 4:30 mark, one of many tricks and techniques the production employs to keep attention piqued and shifting.

Listen to part one of the title track

Barriemore Barlow’s drums make a similar traipse across the sonic landscape in “The Poet and the Painter,” an interlude that highlights the problem of parodying a thing that embraces bombast. Before electric guitar pieces emerge from both sides of the stereo to propel a bounding romp, Anderson delivers an arch reading of image-rich lyrics, and even if it’s intended as a lampoon, it certainly seems serious enough. If he’s goofing on the worst habits of fellow artists, he also takes advantage of the same tropes, and not only on this record. His aggressive, biting poetry revels in highly personal obscurity and the sort of raw intensity served by his authoritative cadence, sometimes at the expense of what may be intended as bubbling satire: His reading of “Building castles by the sea/He dares the tardy tide/To wash them all aside” takes a back seat to no one when it comes to pure portentousness.

None of which is to say that the album isn’t remarkably listenable. The pleasant lilt of Renaissance Fair-ready pulsation in “What Do You Do When the Old Man’s Gone?” is alluring and cool, with an instrumental flow trimmed by Anderson’s always-pleasant flauting of rock’s conventions. “From the Upper Class” is a different sort of enticement, a haunting turn founded on a jagged-edged jig, where Anderson’s less-than-soothing violin accents enhance sonic tension.

Ian Anderson in a 1972 publicity photo

Side one closes with the three-part sequence of “You Curl Your Toes in Fun/Childhood Heroes/Stabs Instrumental,” which runs the record’s gamut of appeals. From dreamy gentleness it shifts heartily, leapfrogging from one instrumental texture to another. Here there’s a xylophone, there a sprinkling of piano, with Anderson’s chipper flute doing substantial lifting as it marches forward. A coordinated throb of organ, drums and Jeffrey Hammond’s bass add punch as the instrumental draws to a close within a playful mix, which starts its fade and then pushes again at the listener’s ear with a fresh burst before evaporating as its last traces mix into the sound of wind.

Side two picks up right there, with gusts giving way to a hollow bell ring before bursting into “See There a Man is Born.” Mixing the formal and the frantic, it is a precise assembly of sounds that breaks into a racing Barlow drum solo before giving way to airy texture. Its stop-and-start journey lands all over the place, yet is cohesive. “Clear White Circles” follows, its flowing acoustic pulse dappled with thicker accents and slight rock trappings alongside Anderson’s deadpan recitation.

Listen to “Thick as a Brick (Pt 2)”

Any argument about the record’s place in the prog firmament is put paid with “Legends and Believe in the Day,” a mellow, contemplative arty hybrid rich with instrumental energy. Behind the likes of “The Dawn Creation of the Kings/Has begun, has begun/Soft Venus, lonely maiden brings/The ageless one, the ageless one,” it’s a tone poem made to sound literate, but ultimately proves most valuable in how it complements the music.

This ad for the album appeared in the May 6, 1972 edition of Record World

The pulsating “Tales of Your Life” is a carefully constructed swirl, constantly on the move. Traces of harpsichord along the way give it an earthy tone, while a couple of timpani thuds reset attention. The pieces coalesce into a mechanism that never sounds sloppy nor random, leading to a robust crescendo, and lest a listener’s attention drift while surveying its riches, the ring of an alarm clock is there to pull it back.

Wrapping the set with a thematic callback is “Childhood Heroes Reprise”; the pivot to it is abrupt, keeping some of the preceding section’s buildup before turning on a dime. Following one final step on the gas, there’s an acoustic cool-down, with Anderson in full contemplative mode, delivering the album’s final line (and title) with a knowing resignation. The road to that quiet closing is typical of the suite—when it empties into an almost incidental string bed for which there was no precedent on the record, it’s emblematic of an approach for which there is no real limit, where an established sonic palette never stops the production from choosing something new if it’s right for the moment.

Watch a homemade video of “Thick As a Brick Part 2” performed live in 1972

Hardly radio-friendly given its structure, the album nonetheless marked the band’s biggest U.S. success to that point. In June 1972, it spent two weeks atop the Billboard album chart, the highlight of its 46-week run. In the process, it secured Jethro Tull’s standing, transforming an intended jab at the genre into the act’s affirmation as a prog rock staple, an outcome which would be even funnier if everyone could agree on the joke.

Watch Jethro Tull perform “Thick As a Brick” live in London in 1977

[To celebrate its 50th anniversary, Thick As A Brick has been reproduced in its original format, inside a 12-page newspaper. The vinyl edition, released in 2022, is a half-speed master of Steven Wilson’s 2012 remix. In addition, the rare and coveted 40th anniversary CD/DVD special collector’s edition, out of print for nearly ten years, has also been made available. They’re available in the U.S. here and in the U.K. here .]

Jethro Tull concert tickets are available  here and  here .

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9 Comments so far

If you know the story about the record label misprints then you know that some early 45’s of “Sunshine Day” were issued under the name of Jethro Toe. If you have this mistaken issued label you’re in for a bit of cash. The original record cost about 99 cents but is worth about $1000. So go running to your 45 collection & see if you have the lucky label….

I preferred Heavy Horses

As a huge fan of Tull’s first four records, I was glad to have Ian’s permission to “sit this one out,” as I did, and, unfortunately, have remained sitting out ever since. I’ve tried, here and there over time, upon reading about this record of that, to re-enter as a fan but have been unable to find a Tull record that has made me want to play it again, as their early ones had. Plus, though the band has gone through various members over the years, replacing Martin Barre against his wishes pretty much put an end to any interest I had in Ian Anderson, under any name he wishes to put his records out under.

Liked the 1st 3 albums much better. I was more of a Mick Abrahams kind of guy. I definitely didn’t get it. I also didn’t much care.

My favorite record from Tull by far. Never liked the followup though.

To go back a few years in Tull time: “It’s an old day tomorrow”. “Brick” and “Passion Play” belong right where they were.

Listened to them once when they came out, and tried again a couple years ago by getting them from my local library.

Two hours I’ll never get back . . .

Do you mean “A New Day Yesterday”? Great song.

When CD box sets first came out, I got the 20 Years of Tull box. “A New Day Yesterday” was from a BBC broadcast. I remember the announcer speaking the intro something like “Don’t you know they’re the biggest thing since the Stones”? “Yesterday” is definitely on of my faves.

After “Thick as a Brick” and the less well received follow-up “A Passion Play,” Jethro Tull returned to “normalcy” (i.e. actual songs). But ever since that time they’ve been considered a “prog” band by progressive rock fans. (Certainly not a heavy metal band as the Grammies thought.) So be it.

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Jethro Tull: Thick As A Brick (1972)

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Thick As A Brick Live in Iceland – now available to pre-order!

Available on 2cd, dvd and blu-ray.

Jethro Tull’s famous concept album “Thick As A Brick” was originally released in 1972 and featured one continuous track spread across two sides of an LP telling the story of a young boy called Gerald Bostock. 40 years later in 2012, Jethro Tull’s founder and leader Ian Anderson created “Thick As A Brick 2: Whatever Happened To Gerald Bostock?” Following this release Ian Anderson took both albums on the road to perform the complete Bostock saga and this concert from the tour was filmed in Iceland. The show combines music, video and mime to bring Gerald’s tale to life as never before and create the definitive presentation of the complete “Thick As A Brick”.

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“You could be a Luddite and ignore these new instruments, or you could say, ‘Let’s give it a spin.’ And I chose the latter”: How Jethro Tull embraced synths, drum machines and the 1980s – and split their fans

The tangled story of Jethro Tull’s controversial 80s albums A, The Broadsword And The Beast and Under Wraps

It was two weeks before Christmas 1984 when Ian Anderson finally lost the battle with his own throat. Jethro Tull were on tour in Australia in support of their most recent album, Under Wraps , a record that had caused widespread disgruntlement among fans due to its prevalence of synthesisers, sequencers and, most heretical of all, a drum machine.

The tour was better received than the record, thanks to a stage set that featured the band emerging, literally, from under wraps, along with moonwalking astronauts and women bursting out of large paper bags. For Anderson, though, the shows had been a trial for very different reasons. He had pushed his voice to the edge of its limits in the studio, not realising the toll performing these new songs every night would take on him. By the time Tull reached the US that autumn, his strained larynx was starting to give out, necessitating the cancellation of a handful of gigs. 

Rather than pull the subsequent Australian leg, the frontman elected to plough on regardless – a decision he would come to regret. He managed six shows Down Under before it became too difficult to sing. Reluctantly, the remaining gigs were scrapped, along with any further dates in support of the album.

“I absolutely wrecked my voice on that tour,” says Anderson today. “That was really traumatic for me personally and expensive in terms of cancellation and reimbursements to promoters.”

Doctors advised him to rest his voice for several months or risk ruining it completely. In his younger, more bullish days, he would probably have ignored them. But nearing 40, he knew better than to risk it. “I was scared into submission, and decided not to do any concerts for some time to come,” he says. “I think it’s true to say that I’ve never felt my voice was the same again. I’d gone beyond where I should have and really had to settle for second best.”

Anderson’s throat problems would precipitate a lengthy break that effectively sidelined Tull for three years. But it also marked the end of a period that had seen Tull’s leader attempt to drag the band’s sound into the technological age. Even with the benefit of hindsight, the early 80s remains the most controversial era of Jethro Tull’s career - but also the most fascinating.

The 1970s had ended on a downbeat note for Jethro Tull. While the band remained a big live draw, especially in the US, their album sales were slowly slipping – 1979’s foreboding Stormwatch was first Tull record in a decade that failed to make the Top 20 on either side of the Atlantic. On a personal level, they had been rocked by the death of bassist John Glascock, who died as a result of congenital heart problems at the age of 29, while Anderson’s father had also passed away. 

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“It was a slightly strange time,” says Anderson now. “We had lost John Glascock, my father had died, there were a couple of guys in the band who were starting to get a little restless, the fact that we had come to the end of the decade… So I made the decision to go and do something fresh.”

That ‘something fresh’ was a solo album, one that would allow Anderson to experiment with sounds and styles far removed the genre he had long been associated with. “It was really just a question of having played in Jethro Tull from the late 60s to that point and feeling the urge to try something different.”

The new songs Anderson was writing pivoted away from Jethro Tull’s traditional sound. He was increasingly enamoured by leaps in musical technology and the people utilising it – not least synth-pop star Gary Numan , who Anderson later described as “amazing… I saw him on Top Of The Pops and wanted to hate him, but I realised how important he was.”

“There was always something a little bit new in what Jethro Tull did,” he insists today. “We had used an early AMS Synthesiser on Thick As A Brick . But suddenly at the threshold of the 80s, you had an array of keyboards that could be persuaded to do what you wanted – well, tortured into submission.”

Not everyone was impressed with Anderson’s new direction. “I was dissatisfied with the state of affairs, musically and morally, in Jethro Tull,” drummer Barriemore Barlow later said. “And I thought the new music Ian was writing was not very good.” In truth, Barlow was already agitating to leave the band, telling Anderson that he was putting together a new project, though his departure would come sooner than either party expected.

Anderson’s notional, if temporary, break with the band he had founded wasn’t total. He retained the services of former Fairport Convention bassist Dave Pegg, recruited to replace John Glascock on the Stormwatch tour after the latter was deemed too ill to play. “Dave hadn’t actually recorded with us, he was a Jethro Tull studio virgin, as it were, so I thought I’d ask him to play on these songs,” he says.

But initially his other collaborators were nothing to do with his regular band. The star signing was Eddie Jobson, the former Roxy Music keyboard player and violinist whose recent outfit, UK, had supported Tull on tour. “I asked if he fancied doing some work together,” says Anderson. Jobson agreed, and brought along his friend, American drummer Mark Craney.

The singer and his new colleagues began work on the mooted solo album, titled A (for Anderson), in the summer of 1980 at the singer’s own Maison Rouge studio in London. 

“As we started working, I thought, ‘It would be good to have guitar on this song’, so I called [Tull guitarist] Martin Barre, who’s really the only guitarist I know, because I don’t really move in musician circles,” says Anderson. “So he came to work on a song, and then another, and he ended up being on the whole album.”

The presence of Jobson and Craney in the studio alongside Anderson, Barre and Pegg was catnip for music papers looking for an explosive headline. In May 1980, the British weekly Melody Maker ran a front page story claiming that Barriemore Barlow, John Evans and Dee Palmer had been sacked from Jethro Tull. It was dubbed ‘The Big Split’ by the press. 

Barlow, for one, was furious. “I went fucking mental,” he later recalled. “Ian had sent a note of apology before it came out, but I thought, ‘Hell, it can’t be that bad.’ But of course it was.”

Anderson refuted claims that the trio had been sacked, insisting that this new line-up was a one-off and that Jobson and Craney were purely guest musicians, to little avail. It didn’t help that Chrysalis were pushing him into releasing A under the Jethro Tull name.

“At that point it was sounding less like a solo album and more like a band album. And technically it had three members of Jethro Tull on it. So when the record company heard the music they were reluctant to go down the route of it being a solo album. I allowed my arm to be twisted to release it as a Jethro Tull album, which was a mistake and a disservice to the other guys who had been in the band because they suddenly felt they were now no longer members.”

The decision to record with outsiders had hastened the departure of Barlow. John Evan and Dee Palmer followed him out of the door.

“I wrote to the other guys, saying, ‘Listen, I’m afraid is this is coming out as a Jethro Tull album’, and tried to apologise – badly,” says Anderson. “But obviously they were upset and they never came back.”

The state of confusion surrounding this latest incarnation of Jethro Tull was nothing compared to the reaction of longtime fans who heard A when it was released at the end of August 1980. The cover image – the band in lab coats, gazing out of the window of what could have been a spaceship – at least gave fair warning as to what to expect. 

Gone was the elemental approach of the recent ‘folk trilogy’, while the grandstanding prog rock of Thick As A Brick was nowhere to heard. Lyrically, Anderson was as scalpel-sharp as always, but the plinking keyboards of Crossfire and Batteries Not Included were less Kraftwerk, more Kraft cheese. There were moments of brilliance, notably the twisting Black Sunday , although the folksy The Pine Marten’s Jig felt like a sop to the devotees.

The subsequent tour was no less of a shock to the system. Anderson insisted that the band appear on stage in Devo-like white jumpsuits, looking like a bunch of befuddled lab technicians who had wandered into the wrong venue.  “It was an absurd idea, made worse by the fact that these things instantly became transparent as soon as you sweated in them,” says Anderson now.

The exception was Eddie Jobson. “Eddie had made it very clear that he was a guest musician, that he wasn’t a member of the band, and he was billed as such. He insisted on having a jumpsuit in a different colour so he stood out from everybody else.”

While band were well drilled, fans were less than convinced. It was Jobson who was the butt of their ire, at least according to Anderson.

“They didn’t much like Eddie,” the singer says today. “He was a little bit too preening. He had that Brian Eno thing about him, and our crowd had totally hated Roxy Music when they opened for us at Madison Square Garden years before. There was definitely a change in temperature from the audience, but it wasn’t aimed at the band as a whole – they just didn’t like Eddie.” 

In truth, they didn’t much like what Jethro Tull had become either. If this was the sound of the future, Ian Anderson could keep it.

If the singer hoped people saw A the same way as he did – as a bold, experimental one-off – he would be disappointed. His next move would be to edge slightly back towards safer ground. 

To replace Evan and Palmer, Anderson recruited a young keyboard player who would help give focus to his new musical explorations. The 26-year-old Peter-John Vettese was a former member of jazz-fusion band Solaris who joined Jethro Tull after spotting a classic ‘musician wanted’ advertisement in Melody Maker . 

“Peter was energetic, full of life. And he hailed from my part of the world, which was Scotland,” says Anderson now.

Vettese’s attributes were more than just geographical. He was musically astute and knowledgeable in the new technologies that Anderson was interested in. Vettese signed up for Tull in time to work on the band’s 14th album, The Broadsword And The Beast , and his impact was immediate.

“He was very quick to grasp a musical idea and try to get to the nub of it. And he didn’t waffle around noodling with different sounds. He always had an idea as to how we would get to a certain point fairly quickly where we settled on a particular musical line.”

If A was the sound of Ian Anderson stepping out of his comfort zone, then the follow-up found him rowing at least partially back into it. The electronic flourishes of A were still there, augmented on some tracks by a drum machine (though flesh and blood new recruit Gerry Conway did most of the heavy lifting drum-wise), but it was offset by a windswept Celtic atmosphere, exemplified by the epic sweep of the track Broadsword . 

“At the time I was living some of the year on the Isle Of Skye, in the wilds off the west coast of Scotland, facing the sea,” says Anderson of the song. “In times gone by, the Viking longships came up the sea lochs of Scotland to pillage and plunder and generally have their wicked way with the locals. And so it was just this notion of sometimes standing on a headland and imagining this longship coming up the loch.”

The Broadsword And The Beast got a better reception from fans than its predecessor when it was released in April 1982. Certainly, it was a more confident record. Songs like Beastie , Pussywillow and Slow Marching Band – the latter of which could be read as a dig at the departed Barriemore Barlow, though Anderson has denied it – bridged old and new Tull, though the band’s more intractable followers were still having none of this new-fangled technology (a pair of outtakes from the album, Jack Frost And The Hooded Crow and Jack A Lynn , were much more in tune with the band’s 70s sound, though they were conspicuously kept in the vaults for another decade).

Still, any affinity for the album was strengthened by the subsequent tour, which found Anderson cheekily playing out his Viking fantasies. A mock-longship was part of the stage set, while the singer wielded an eight-foot broadsword with impressive deftness. It wasn’t all ninth century theatrics, though – during Watching Me Watching You , a group of roadies in white coats trooped onstage, eventually joined by a man in a giant rabbit suit.

If the job of The Broadsword And The Beast was to restore fans’ faith in Jethro Tull, it worked, But its commercial impact was mixed. 

“ The Broadsword And The Beast was our most successful selling record in Germany ever, yet it was a dead duck in the USA,” says Anderson. “It’s not like it was just as simple as the fact that Americans didn’t like the sound of those songs. It had to do with a lot of the realities of the music business: the change in American radio, even the move from radio into MTV, which didn’t work terribly well for Jethro Tull.”

If the album’s reception in America had been disappointing, at least Anderson’s newfound musical partnership Peter-John Vettese was proving fruitful. Such was the pair’s rapport that Anderson elected to take another run at a solo album, this time with the keyboard player’s help.

“The expectation was for it to be the solo record that A turned out not to be,” he says. “I wanted it to be a bit more sparse, and the idea of just doing it between the two of us seemed like a more attractive thing. And that’s the way we made the album, really – just the two of us.”

Released in 1983 and credited to Anderson, Walk Into Light was more radical than anything the singer had put his name too before, including A . The cover – a newly-shorn Anderson framed by stark, Test Card-style imagery – gave some indication of its musical direction. This was more Ultravox than Jethro Tull, an album of stark, largely electronic songs. Putting aside the provenance of the man whose name is on the cover, it’s a surprisingly assured record, the likes of Fly By Night and Made In England pointing forward to a brave new future. 

“I could have made an album of me singing and playing the flute, but that seemed too obvious,” Anderson later recalled. “I wanted to get away from what I was known for.”

That certainly worked – perhaps too well. Jethro Tull fans ignored Walk Into Light in their droves. Anderson had finally scratched the solo itch, though if anyone thought he had got his fascination with new technology out of his system, they would be mistaken.

The singer reconvened Jethro Tull in the Spring of 1984. “Suddenly becoming a band again was nice after having done an album that was rather more sparse and down in feel, as the solo album had been,” he says. 

But there was one notable absence. For the first time in their career, Jethro Tull were recording an album without a drummer. Instead, Anderson had elected to use a new LinnDrum drum machine, then at the cutting edge of digital tech. “It was a regular session, except for the fact there wasn’t a drummer present,” says Anderson.

Where The Broadsword And The Beast had felt like a welcome compromise towards fans, there was no such effort made with Under Wraps . It might have been a Jethro Tull album in the way that A wasn’t, but its synthetic approach marked it out as a logical successor to Walk Into Light rather than TBATB .

“To most Tull fans the idea of us sounding like a cross between The Police and Thomas Dolby was a little bit of a stretch in credibility,” says Anderson. “The fact was, we did it rather well, Not as well as The Police and Thomas Dolby, perhaps, but you know, rather well.”

Today, Under Wraps is widely regarded as the worst Jethro Tull album, a reputation that’s not entirely deserved. While its sound and production date-stamp it to the mid-80s, the songs and themes running through it – “spies, secrecy and subterfuge,” according to Anderson, inspired by his love of writers such as John le Carré and Ted Allbeury – were classic Tull. An acoustic version of the title track, featuring Dave Pegg on stand-up bass, and released on a 2005 reissue of, pulls back the synthetic curtain to reveal the beating heart of Anderson’s music.

“The one regrettable thing about that album is that wretched drum machine relentlessly boring a hole in your skull, because it’s got some great songs on it,” says Ian Anderson. “And it was one of Martin Barre’s most inspired moments of guitar playing. I think in a way he felt that he didn’t have to worry about keeping time with a drummer who was never perfect. All he had to worry about was playing the right notes.”

Predictably, Under Wraps didn’t go down well among the Tull faithful. For Anderson, a more worrying matter was the loss of his voice on the subsequent tour. After the cancelled Australian tour, he returned to the UK to focus not on the band but on his trout farms in Scotland, and “recharging his spiritual batteries.”

It would be almost three years before Jethro Tull fully returned to the fray. When they did, with 1987’s Crest Of A Knave , it was in much altered form – or at least a form that was more recognisable to longtime fans of the band. The album largely dialled back the electronic diversions of the 80s, replacing it with a warm, earthy sound that echoed contemporary giants Dire Straits, not least on the album’s highlight, the slow-burning 10-minute epic Budapest .

Crest Of A Knave was an unexpected success, selling more than a million copies in the US and famously, beating Metallica to a Hard Rock/Heavy Metal Grammy Award. More importantly, for Tull fans it successfully wiped away the memories of what many saw as an aberrant dalliance with technology Jethro Tull had no right to be using. Today, Anderson remains aware of the flaws of the albums he put out in the early 80s. But there’s also a stubborn pride to the way he views them.

“You could be a Luddite and ignore these new instruments, or you could say, ‘Well, let’s give it a spin, let’s see what it’ll do.’ And so I chose the latter course,” says Anderson. “You have to push the boundaries sometimes.”  

Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on Kerrang! and Classic Rock , Associate Editor on Q magazine and staff writer/tea boy on Raw , not necessarily in that order. He has written for Metal Hammer, Louder, Prog, the Observer, Select, Mojo , the Evening Standard and the totally legendary Ultrakill . He is still waiting for Billy Gibbons to send him a bottle of hot sauce he was promised several years ago.

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Jethro Tull en Auditorio Víctor Villegas (2 oct)

Disfruta de la legendaria banda británica, capitaneada por el icónico Ian Anderson, repasará las canciones de su último trabajo, 'RökFlöte', así como sus grandes éxitos. ¡Compra tu entrada al mejor precio con Oferplan y no te lo pierdas!

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OFERTA FESTIVALES, CONCIERTOS Y ESPECTÁCULOS MURCIA

JETHRO TULL

Jethro Tull es una formación de rock británica originada en 1967. Sin duda alguna, se trata de una de las bandas del género más longevas, así como una de las que más ha influido en las agrupaciones y artistas venideros. La mítica flauta de su líder, Ian Anderson, se ha convertido ya en todo un icono en el planeta, siendo el primer músico que incorporaba el instrumento a un grupo de rock progresivo.

‘Aqualung’, ‘Thick As A Brick’, ‘Heavy Horses’ y ‘The Jethro Tull Christmas Album’ son algunos de los trabajos más míticos de esta banda, que fue símbolo del rock progresivo británico durante las décadas de los 70 y los 80. Ian Anderson es el único miembro que se mantuvo activo a lo largo de toda la trayectoria de Jethro Tull, y por eso ha parecido llevarse ese sonido con él tras la disolución de la banda en 2011. Nacido en 1947, este compositor, cantante, guitarrista y flautista es conocido por haber sido el guía principal de Jethro Tull durante más de 40 años.

Su trayectoria en solitario se remonta a 1983, cuando publicó su primer álbum de estudio personal siendo todavía miembro de la antigua Jethro Tull. A día de hoy, ha publicado más de ocho discos y continúa girando por todo el mundo, en esta ocasión, con The Prog Years Tour, el último proyecto de la banda.

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