Published on Jul 12, 2004
Jethro Tull have definitely been one of the more progressive
acts throughout the decades. Known for their use of the flute,
their thought-provoking lyrics, and the stage antics of frontman
Ian Anderson, they’ve become one of the more eccentric bands in the
pantheon of rock. But before the 30-plus minute songs, before the
blending of progressive and folk elements, and even before the
famous guitar licks of Martin Barre, there was this.
It’s quite obvious that the group was a definitely a blues band
at this point in their career. And in being one, the flute wasn’t a
very accepted instrument in the genre, and that’s why less of it is
heard when compared to other Tull albums (though it’s still
prominent throughout the album, on songs like “Beggar’s Farm” and
the mostly all-flute instrumental”Serenade to a Cuckoo”).
However, it is compensated by Mick Abrahams’ talent on the
guitar. This man is one of the best blues guitarists around, and
it’s unfortunate that he was only on this album (not to say that
Barre is a lesser guitarist, but that it would’ve been interesting
to hear how Abrahams would sound on later albums). His brilliant
riffs in “Dharma for One” and “Cat’s Squirrel” are some of the best
guitar lines ever written in rock and roll.
“A Song for Jeffery” is the only track that most casual Tull
fans are able to remember from this album. It’s unfortunate that
other, better tracks are neglected, but the aforementioned song
still sounds quite good, even after all these years.
The crowning achievement (at least to me) is easily “Dharma for
One,” which starts out with a powerful flute and guitar attack,
which then leads into a drum solo that bands like Led Zeppelin and
Black Sabbath probably drew on for inspiration. It also showcases
Clive Bunker’s talent behind a kit, and has a wicked little
Abrahams solo overlapping Bunker’s frantic skin-pounding right near
the end.
One thing that I just never cared for on this album is
Anderson’s harmonica. I know it was a very common instrument to
accompany the guitar in the blues genre, but after all these years,
it seems a little dated. The only time I can say I enjoy it is in
the ultra-bluesy “It’s Breaking Me Up.”
When looking at the whole of the Tull discography, this album
certainly sticks out as being quite different from the rest. Much
more raw and bluesy, it still however retains most of its desired
power from when it was first released. I still believe it to be one
of the better efforts by Anderson and co., and when one is finished
listening to the album, it becomes clear that
This Was awesome.