Jethro Tull's third studio album Benefit is a record that I have always struggled to get into. Back when I was a teenager, I found this album in my mother's record collection and I remember it making me feel a little strange. As a kid I was use to a lot of things in rock music, but a flute?/5(). Benefit was the album on which the Jethro Tull sound solidified around folk music, abandoning blues entirely. Beginning with the opening number, "With You There to Help Me," Anderson adopts his now-familiar, slightly mournful folksinger/sage persona, with a rather sardonic outlook on life and the world; his acoustic guitar carries the melody, joined by Martin Barre 's 8/ Oct 31, · Label: Chrysalis - TOCP • Format: CD Album, Reissue, Remastered Paper Sleeve • Country: Japan • Genre: Rock • Style: Folk Rock, Prog Rock Jethro Tull - Benefit (, Paper Sleeve, CD) | Discogs/5(15).
Play track. Artist images 68 more. Their music is marked by the initially soulful and bluesy, and later expressively idiosyncratic, vocal style and unique lead flute work of frontman Ian Anderson, and their notable guitarist Martin Barre. Their songs feature unusual and often complex construction, incorporating elements of classical and celtic folk music, as well as art rock and alternative rock. Their music is marked by the initially soulful and bluesy, and later expressively … read more.
Their music is marked by the initially soulful and bluesy, and later expressively idiosyncratic, vocal style and unique lead flu… read more. Similar Artists Play all. Trending Tracks 1. Exploring the local sounds and scenes at Noise Pop Fest. Albums of the latest and loved, and the ones to look out for discover By okspud1 15 Feb am. Wednesday 25 March Thursday 26 March Friday 27 March Saturday 28 March Monday 30 March Tuesday 31 March Wednesday 1 April Thursday 2 April Friday 3 April Saturday 4 April Sunday 5 April Monday 6 April Tuesday 7 April Wednesday 8 April Thursday 9 April Friday 10 April Saturday 11 April Sunday 12 April Monday 13 April Tuesday 14 April Wednesday 15 April Friday 17 April Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April Wednesday 22 April Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Tuesday 28 April Wednesday 29 April Thursday 30 April Friday 1 May Saturday 2 May Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Friday 29 May Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Great to listen to right before listening to "Cheap Day Return," see what a year can do.
I like the rockin' middle, the "I'm with you boys" part, but the acoustic buildup is just so The second side brings us back with "To Cry You a Song," the most famous and classy riff on the album.
And it fades in! No one was doing that! It's really a great number for Barre, with fuzzy guitar tones layering themselves over and over again in during the instrumental breaks.
However, it also has a really irritating beep in the middle, which unless my disc is faultykind of spoils it. It's a driving rocker, with little flute parts popping up here and there. Sometimes the backwards chewed tape effect gets on my nerves, but other than that a decent song I love the lyrics. It's a sufficient closer, but on the greatest. So, as I've said, not the greatest, but good. Dark, but not the darkest. Dry, but not the driest some have suggested a proto-Minstrel. There is not a single song that doesn't contain something I like, if sometimes you have to dig for it or endure sound effects.
The band sounds pretty good, but I'm also a little disappointed. Ian and Martin are great, and John Evan does pretty good on the 'boards, but my rhythm section particualry Cornick isn't nearly as strong as on Stand Up.
Poor Glenn. Clever chap, jazzy basslines, but I do prefer Jeffrey. Benefit is worth your dollars, if only for the two biggest Album) off the album. Both are pretty much classics. Damn this is a bad ending to the review, but I can't think of anything better.
There are four songs on the digital remaster, and you've probably heard them all! It's remarkably toe tappin'. No fear, it's still way too strange to be yer standard radio play. I am, however, with Ian on this one; I'm not a fan of this fan favorite. It's a nice enough tune, but it's played for way too long. Amazingly enough, no change in rating. I just However, when they aren't "going" things can get a bit arduous.
Especially in the middle of the album. The songs themselves are alright, but to me they lack the necessary materials to keep the interest up. Another thing, is the similar sound of these songs. A little more variation here would have certainly improved it.
But of course, Son - Jethro Tull - Benefit (CD, this has its upsides as well. If this sound mostly a hard blues rock sound, with folky acusticness and a healthy dose of flute is what you prefer about Jethro Tull, then you should enjoy it alot more.
But the main reason for a three star rating, is that I feel this is a step backwards for the Tull. To my ears, Stand Up was progressive and varied and the same could be argued for the debut. As I said eariler, this album is much more in the hard blues-rock vein. Thus, thinking strictly for a progressive collection this album is by no need essential.
Though there are high points with this album. There is also great guitar and solid flute work present throughout most of the album, and for fans of the hard blues age there are a few bluesy jams thrown in as well.
But, overall, this falls a bit flat, especially comparatively. All in all, Benefit is a decent album. This will appeal more to fans of early Tull then to fans of progressive Album), folky tull, or late Tull. The Blues sound is certainly dominent here at the cost of the progressive side of things. Not a complete bust however, and I believe every fan of JT will find something enjoyable about this album.
Also, not the best starting point in JT's extensive discography. Three stars, good, but not essential. It took me a long time to get into it, and to be frank, i didn't listen to it very often back then in the roaring 70s.
Luckilyi tried again with the new remasterised CD i bought first just for collection purpose, but finally, something ''clicked'' after all those years. Just have to be patient, i guess! This is a hard rockin album compared to the first two. This is the year hard rock took off the groud. He really brings a lot energy to the album. Again, we are treated with 4 good extra tracks with the remasterised CD edition. One noticeable difference appears immediately as John Evan's piano is featured on the intro to "With You There to Help Me," a somewhat Gothic-sounding dirge that brightens considerably when they reach the uplifting chorus.
A military drum beat starts the riff-based "Nothing to Say," a wonderful song that contains one of Anderson's best melodies as he further narrates the trials of constant touring and record company demands and false promises. The tune features a surprisingly simple arrangement but it's one of their top numbers in my book. Things take an upswing on the following track, "For Michael Collins, Jeffrey and Me" that has a folksy acoustic guitar feel on the verse that gives way to an almost southern boogie-like atmosphere on the chorus.
The juxtaposition of these different styles is refreshing and the surreal, poetic lyrics are striking. The piano reappears to lead them through the rather nondescript "A Time for Everything" but it does offer a glimpse of what the following album will sound like.
I always smile when "Inside" begins because I love its captivating, rolling feel and Anderson's sprightly flutisms. The four bonus tracks are not just discarded out-takes but a real treat. Recorded weeks earlier, the first three of these cuts that obviously didn't make it onto the official UK "Benefit" release plainly display how the band was downplaying their earlier eclectic influences and going in a more arena-rock direction that would culminate in "Aqualung.
It's a very short but sweet number that tragically fell to the wayside for decades. And, last but not least, the radio- friendly single that is "Teacher" ends things on a strong note. It's an immensely popular rocker that thoroughly displays all the Jethro Tull charms as Evan's Hammond organ growls underneath and Anderson's breathy flute mannerisms fly over the steady rhythm section provided by bassist Glenn Cornick and drummer Clive Bunker while Martin's fat electric guitar gives the song its necessary muscle.
While not as consistent as the masterpiece album that preceded it, "Benefit" is still an outstanding effort that no fan of prog should be without. This was to be the last record from their unadulterated embryonic stage for Cornick was soon to leave and Evan was to come on board as a full-fledged member, altering their sound forevermore. The cover art satirically portrays them as cutout figures being moved arbitrarily around by their masters like paper dolls but artistically they were coyly learning the ropes and discovering the loopholes that would allow them to succeed in retaining their own identity despite those manipulations.
The music on Benefit is much more emotional and moody than on the rocking Stand Up. It almost seems like Ian Anderson is crying when singing some of the songs. Clearly the best song here. The musicians are good as always, but the flute which Ian Anderson used extensively on Stand Up is not as present here despite the picture on the front cover of Ian in his famous posture. I think I hear more piano bits on Benefit than on Stand Up. I always though Benefit should have come after This Was and not after Stand Up as it is clearly a step down from the wonderful Stand Up and not a continuation of that style.
For my one hundredth review I thought I would choose something special. I chose Jethro Tull's Benefit my absolute favorite Tull album. Released in this was a transition album moving Tull from the Blues band they were to the prog band they were about to become. I like this variety of styles presented here. Classic Tull sounds are present in songs like Inside and Play in Time.
The production can be a bit sparse based on this is a 5 piece without the aid of keyboards. Still the flute fills in the cracks nicely throughout and Martin Barre sounds great on this one. The remaster adds a lot of clearness to the mix and there are things I can hear now that I wasn't able to on the original release.
The Remaster also includes 4 bonus tracks the best of which is Witches Promise are not really that strong additions to the album proper but not bad for collectors.
This is the first of Tull's golden age of the early 70's. I give this one a 5. It's not terrible. I just find it thoroughly boring and not a very intriguing release from the band that usually knows how to pack intensity and excitement into albums like your grandma knows how to pack for a long vacation.
Instead, here we find the band looking for melody without their wild side, which is not a bad aim, except the melodies are not strong enough to allow for such a gutless album. It's not all worthless, true, but I really can't bring myself to listen to it very often. Tull has been known for releasing a couple great albums and a great number of mediocre ones to fill the spaces in between.
This falls into the mediocre category, though I think it might be a bit below par. On the whole, also, there seems to be a certain lack of much progression or progressive-minded music. The creativity seems to have vanished before recording started on this album. On a song basis, there really are not any tracks that stand out to me. A Time for Everything? The melodies do work well, especially with the flute.
However, there is an awful high pitched squeal for ten seconds or so in the middle that almost guarantees an instant headache. Play in Time and the simultaneously released single available on the remaster Teacher are both interesting tracks, with some good flute and popular vocal melodies. Aside from those three, however, none of the songs off of Benefit really do much in the way of standing out at all.
From my perspective, this album should be only for serious fans of the band. A casual listener would likely be pretty unimpressed. Even in the already quite unusual Tull catalogue, Benefit is an oddity. Unlike the following Aqualung and Thick As A Brick, it seems very uncertain as to where it wants to place the stress, which results in a slightly muddy recording full of good playing and good writing, but not a lot of focus.
With You There To Help Me and To Cry You A Song are comfortably the most successful examples of this ambiguous, dark style, while the remaining ones took a lot longer to work their wat in.
John Evan's additions on piano are interesting, but doesn't really come off in an obvious way yet. It's probably fair to say that this album is the start of a rather more progressive Tull, but still, I'd maybe say to leave it unless you're already a fan of more effective and quirkier efforts like A Passion Play and Minstrel In The Gallery even if the rating seems to contradict me.
Nonetheless, after a fair few probably about ten or so, in my case listens, the album suddenly sank in, striking back with all the little bits of emphasis, the quality arrangements and the subtler touches. The superb With You There To Help Me kicks off the album in style, with a highly distorted flute, some acoustic strumming that seems to abandon the mould altogether and a sort of confusing block vocal that'll recur in the album.
A great Martin Barre guitar tone supplements the rest of the band. The lyrics set an ambiguous mood, and Glenn Cornick's bass provides a touch of throbbing background the song can't do without. The Clive Bunker percussion is understated, effective and explosive. A very, very difficult song to describe, and somewhat intentionally so, at that, with a mood that somehow shifts between a desperate optimism and an assertive disillusion.
Nothing To Say is a bit more unusual, again featuring the everything-goes-on-at-once acoustics, guitar thrums, thick vocals and emphatic hammering piano lines. Cornick's swirling bass drives the song along from the bottom. Bunker's again perfectly good on the drums.
A touch of piano-guitar-bass interplay works in the piece's favour. A surprisingly understated Barre solo off the piece. A hard Barre part meets a rather folky rhythm and an Anderson-Evan dominated moment of real jazz. The lyrics are unusual, but good, and the combination of styles actually ends up working pretty well.
Son is built on a two-part conversation, perhaps extending the themes of For A Thousand Mothers, and including a rather unusual fade mid-song into another section. The piano-and-acoustic reply is particularly neatly done. The ending jumpy piano sort of disappears into midair. Unconventional, and I hated it at first, but now I'm getting fonder of it. The absolutely lush For Michael Collins, Jeffrey And Me is amazing, with a piano, acoustic and careful bass reminiscent of the softer songs of Aqualung.
The more rocking chorus is an oddity, but it works quite well once you listen out for what Barre is doing. The building acoustic is a treasure, and the little melodies make the song very moving. Again, an unusual mood, but it works. Finally, the vocals are extremely good here, which isn't something I'll say about much of Benefit.
It featyres superb percussion, capable guitars, emphasis placed by delaying some of the anticipated guitar parts and a fluid bass which also seems to not quite relate to expectations. Some of the rocking solos are clear precursors to bits of Aqualung.
I think an odd organ section takes place, but it could just be a manipulated guitar. Anyway, it thumps, rocks and wails away in an impressive fashion. A Time For Everything features an obvious flute part, including a kettle-on-flute sound, as well as a good synthesis of guitars, percussion and piano, using a couple of low piano notes to contrast the fiery guitar.
Barre takes a rather unusual guitar part in places, which I can't really even compare to anything adequately Anyway, I Son - Jethro Tull - Benefit (CD it. Inside is another of the folk-rhythm pieces, with a little bass part which adds a touch of colour, and an unusual percussion sound that sort of traps ideas. The flute again provides weird melodies in the background, and a couple of wordless vocal lines. The lyrics are good, and it's a much more successful merge of folk and rock than the later Songs From The Wood material in my opinion.
Play In Time is again weird, with a nice low-key-organ, some really odd guitar and a sort of bass-backed riff that is really simple, but quite effective.
The bursts of instrumental grit are fantastic Anyone who thinks Tull weren't really experimental The interesting Sossity; You're A Woman takes its place at the end of the album successfully. The unusual classically-inspired acoustic guitar and organ meets another block vocal and some surprisingly moving folk-based percussion and harmonies.
The lyrics are again excellent, and effective. The last note of the album, a standard classical flourish holds real potency.
I'm not great on counting time signatureswith a neat vocal, some subdued flutes. A bit more of the Clapton-influenced guitar stylings we get on We Used To Know, and a couple of brief, darker and more unusual sections.
The lyrics are naturally pretty good. Witch's Promise again draws a bit on the melodic folk side of Tull's writing, with either a mellotron or an actual string arrangement more likelyalong with a neat bass part and a load of fun little features. Just Trying To Be is a brief, pretty and unusual acoustic piece, with a couple of really nice marimba additions.
Teacher is a particularly good rocker, with a great bass part, harder guitar, complimented by a classy hammond tone and a couple of memorable melodies. So, really, a very good set of bonuses. Anyway, a touch weird, but still commendable. My rating of the album seems to waver from listen to listen Very difficult to describe, and rather intentionally ambiguous at a lot of times, but still an interesting, experimental record, displaying a fusion of rock, folk, and even the occasional dab of jazz, classical and pop to good effect.
Needs to be heard, and given a little time to grow, I think. Recommended for anyone who's very fond of some earlier or later Tull. Rating: Four Stars, but it really is a pretty difficult one to rate. Favourite Track: Lots of good ones. I think it is fair to say that Benefit is a transitional album. As such, it shares some of the weaknesses of the two 60's albums, but it also points humbly toward what was to come after it on Aqualung. Unlike many others, I personally think that Benefit is better than the band's first two albums overall, even if it lacks clear standout tracks.
But I still find it somewhat immature in relation to what was soon to come. The production is better than on the former two albums. Anderson's distinctive flutes and vocals are again clearly recognizable here, and they sound better than before, but it was still not at all evident what a great band they would soon become. Like I said in previous reviews, Prog fans should begin with Aqualung and ignore the first three albums at least until they have acquired most or all of the band's post-Aqualung output, most of which is better than these early albums.
It kicks in before the chorus. Man the flute that follows is haunting. I really like the guitar 3 minutes in and later with the flute before 4 minutes. That electric guitar sounds pretty amazing to me. Good song. Electric guitar makes some noise. Some good contrasts here. I like the way it ends. It gets fuller after a minute as contrasts continue.
Some nice guitar in this one. I like it! Piano comes and goes. It's Ian's vocals and flute that make this so special. Vocals join in this dark and melancholic song. I like this album a lot. Oh and my version has "Teacher" as a bonus track, it was on the original UK version and was recorded a few weeks before the other songs on the album.
But for one or other reason it doesn't feel like a consistent album to me. It sounds like a compilation of songs they had lying around at that time.
It lacks to coherence and unifying sound of Stand Up and there is a huge quality difference between the more accomplished longer tracks and the still adequate but less memorable short ones.
Anyway, Jethro Tull were enormously creative and inspired in their first years, especially if you also consider the amount of songs that were written in the same period but didn't make it onto one of the albums till the compilation Living in the Past was released.
None of the songs are bad. But some just seem to pass from memory an instant after listening to them. And what is up with Ian Anderson's obsession with that Jeffrey guy? Easily three stars. This was one of those random albums that I had on vinyl while growing up, so in full disclosure I admit that it does have a special place in my heart. Who knows why I had this and not Thick as a Brick, but I suppose sometimes it's OK to save the best for last, even if it happens unwittingly.
Although there are no bad moments on this album, I often get the feeling that I'm listening to some variations of a common theme. Not so with these select highlights, which each offer something interesting and rewarding. The opener is a real keeper, with a nice chanting verse punctuated by flute runs, leading to a good rocking chorus melody. Nothing to Say is not complex, but an effective bluesy rocker with plenty of guitar harmonies. Teacher is a very catchy "single" and even--rightfully so--gets decent airtime on the radio.
Sossity works great as the album closer, and is a nice somber number. The organ and acoustic guitar are quite haunting, and the addition of flute and tambourine later is really done to nice effect.
Overall, a good number of very solid songs, yet the truly progressive aspects would need to percolate just a bit longer. I do often come back to this album, but in retrospect the band did need to evolve, because even a quality effort like Benefit can come to sound a bit bland in places.
A stellar arrangement shows off the group's energy and instrumental skills, with Anderson's dynamic flute effects and Barre's guitar jaming sounding excellent.
In fact, Benefit works Son - Jethro Tull - Benefit (CD when things are cranked up, as in the playful and rockin' "To Cry You a Song", and the killer guitar work on "Play in Time". These songs feature the band's tremendous style uniqueness very well. Unfortunetly, the follow-up "Nothing to Say" is pretty much self-explanatory. This tune as well as "Son", and "Time for Everyting" come across as somewhat bland and feel very "stand- alone", in that they don't seem to fit in to any context and tend to be over before ideas have fully developed.
While not bad, they come and go with a distinct malaise when compared to the more outstanding tracks. The good stuff in Benfit is very good, and even the filler is enjoyable. Even so, I didn't make quite as a connection with me as some of the band's other albums; I attribute it to Anderson's vocals and a sort of stand-offish feel to some of the songs.
Very near the four star mark, but I was left wanting more. The sound is definitly more rockier, with Martin Barre finally coming on its own and showing how good he is and how important he was into the making of the jethro Tull sound. This is the fisrt time too that keyboards player John Evans make an appearance on a JT CD, although here he was just a guest.
Some parts hint grater things to come like Nothing To Say. Anderson was really gaining momentum here and his skills as songwriter were maturing fast. The band also was tighter than ever. But I really ewnjoyed this CD as a whole. But even my old Chrysalis version has an excellent sound. Rating: something between 3,5 and 4 stars. The crescendos utilizing the flute before quick angry guitar wails are memorable elements to this song as well.
Definitely one of my favorites by the band in general. There are plenty of other good tracks that vary between folk and rock such as the killer riffing in "To Cry You A Song" and "For Michael Collins, Jeffrey and Me" with its 'sing-along with a beer stein' chorus after the more folky verses.
I can't give it the masterpiece status because I have to admit that a couple of the tunes don't really work for me, basically "Son" which has an awkward shift that doesn't work and "A Time For Everything" which is ok but has this terrible feedback moment that screws things up.
As a whole though, despite Benefit not getting quite the same recognition as the two albums sandwiching it, I actually prefer it to either of them.
Stand Up and Aqualung both have some of their best songs, but I find Benefit a more consistent record, and probably my go-to record when I'm in the mood for some classic era Jethro Tull.
Thick As A Brick is their best, but I have to be in the right setting for that listening experience, whereas this puppy can be played at any time. Ian Anderson was able to stretch his versatile creativity on "Benefit" and the production quality improved dramatically.
He has an uproarious time on flute and acoustic guitar. Martin Barre is dynamic on lead guitar churning out one brilliant riff after another. Clive Bunker on percussion along with Glenn Cornick on bass provide the driving rhythm.
This is perhaps the finest album with this line up. The guest musician John Evans provides a wonderful piano accompaniment. Anderson is excellent on flute and his vocals are full of theatricality and vigour. Many of the tracks became part of Tull folklore and appeared frequently on concert set lists. Highlights include 'With You There to Help Me' with the flute and baritone vocals along with Barre's wizardry on guitar.
The heavy guitar work of Barre is a key element and he really gives it a work out on this master work. Once again the track became a favourite and can be found on most compilations.
Benefit saw the light in april and is the third album of this famous band named Jethro Tull. While I prefer the previous effort Stand up, this is almost constructed on same attitude and characteristics as before, but aswell is more rockier the Stand up in places.
This is a good JT album, no doubtbut to my ears is less convinceing then anything they release after untill and less exciting then Stand up. The rhytmic section is solid as always on every JT album, but the arrangements suffers little bit of consistency IMO. Aswell this is the first album where appers as guest John Even, keybordist and organist, he will become full time member untill His contribution to the JT sound is importand, with each album JT sounded more progressive and less bluesy like on first three albums.
This hard folk prog album has enough pleasent moments to say that is a fairly good JT album, but to me is not among their excellent albums. Other than bits and pieces scattered throughout the album, the acoustic bits are kept to slightly more than marginal. Granted ''Sossity'' and ''Michael Collins'' are very acoustic based, but the meat of the matter is in the harder rocking tracks and how it sounds like if Tony Iommi did rub off on Ian Anderson's composing style Iommi was a brief member of the band in earlier days.
It's also how well the riffs segue from one to the next that warrant a sense of stability in songs. Other strong highlights come in many forms. We have rock songs beefed up with Anderson's signature flute playing that give a sense of unorthodoxy ''Alive and Well and Living In'', ''Play in Time''songs with excellent solo opportunities ''Nothing to Say'', ''To Cry You a Song''and the overall highlight in ''With You There to Help Me'', a song that keeps the listener on the edge of their seat with well-executed and quick dynamic shifts.
For a long time I thought Benefit was the best of the lot, even surpassing Aqualung. This was before I discovered A passion play and Thick as a brick. Both of those surpassing Aqualung in quality. My stab at being controversial ends there. I think Aqualung comes in as number three in the ranking of Tull's albums. Anyway, I am rambling as usual. I thought Benefit was the greatest, yes. That's it. My mind has changed since then. Benefit is a marvellous album, really it is.
It still is and probably always will. At least I hope so. When i listen to it nowadays i think I am, in part, struck by nostalgia but foremost I find that this album displays a lot of what Tull stands for. Their standpoint is one of blues, hard rock, folk and classical elements, all poured into that great musical blender and served as a cocktail of unspeakable originality.
However, I think that Benefit for the most part lingers back in the progressive blues territory, albeit with several feet in their progressive future. The songs are folky, hard rocking at times and we are served a slice or two of classical cake. That is all very well and the result is very nice. I do think, however, that the album is slightly less genial than I once perceived.
If I was to suggest an album to start off with I would, most likely, recommend some later album. Aqualung, I guess. As a Tull-head, and having been one for over 20 years, I find a lot to love on Benefit and I still think it is one of my favorite albums.
Not because I think it is the best work they made, simply because it is a wonderfully charming album, conquering musical territory back in the day. If you are into Tull, this is a great album. If you are about to discover them, go for Aqualung or Thick as a brick. Conclusion: 3 stars, given with love and affection. Musically, "Benefit" established the interplay of dreamy and aggressive woodwinds with riffs that defined the era, and keyboards and acoustic guitars that reinforced the often breathtaking melodic basis of the songs.
Unfortunately, the album suffers from two weaknesses that would permeate most TULL releases: an over-reliance on Anderson's voice, one that should be savored in short sips rather than furtive gulps, and a tendency to include mediocre plod rock material, some probably in service of appealing to the straggling blues fans, but perhaps just as symptomatic as Anderson being too eclectic for his own good.
I'm going to give them the benefit of the doubt and round up to 4 stars. Martin Barre's bluesy guitar tone is still present and it definitely integrates well with the path taken by the band. Albeit still not as exciting as the albums that are to in the following years, this album is a very important work and it is recommended to prog fans! BENEFIT continues the folk elements with strong songwriting, addictive melodic developments and the beautiful poetic adroit vocal suaveness of Ian Anderson's vocal style accompanied by his signature flute fills, however the addition of the keys and Barre's new freedom to expand his guitar duties make this a much harder rocking album than 'Stand Up.
The band expands these elements with ease. They figured out right from the start how to meld all the folk and rock elements together in a seamless manner and alternate the soft passages with the harder edged ones. There is not a bad song on this one and this is actually one of my favorite JT albums. Starting with the very first echoing flute sounds that begin the album, Anderson kicks off the album with his saturnine singing style and the melodies unfold with addictive verses and chorus' that flow together so flawlessly with bridges and unexpected yet pleasing transitions.
I have always considered Ian Anderson to be one of the best songwriters out there and on these early albums he just shines like the brightest supernova in the distant universe. Because record companies were totally evil back then or are they still? The usual one for the UK and one for the US. Luckily the remastered CD version has the whole kit and caboodle and bonus tracks to boot. Every track just hooks the listener and takes you to that special JT universe where you can escape into the seductive song structures where guitar riffs conjure up your inner rowdy rocker while the calming keys and flute solos take you on a folky sojourn through the pastoral lands of rural England.
This album may be written off by some as a mere practice session for the even better albums like 'Aqualung' and 'Thick As A Brick' which were just around the corner and true this doesn't quite hit high on the progometer quite yet, but the melodies, musicianship and strong performances make this one a very slick and savvy listen nonetheless. Just as enjoyable as the classics that follow IMHO. There's really not a whole lot to say about this album, since not a whole lot goes in within.
At its core, what we have here is a blues rock album with folky acoustic sections. No more, no less. This isn't a progressive rock album by any means. There are no virtuosic pyrotechnics, no elaborate song structures, no Khatrus or foxes on the rocks to be found.
This isn't an inherently bad thing, of course. That being said, there's more to my lackluster perception of "Benefit" than just its complexity.
After all, some of my favourite albums are very minimalistic or compositionally simple. The thing with "Benefit" is that it just doesn't really gel into anything that flows. The music is very riff-based, with plenty of power chords chunking their way along, sometimes interspersed by uninspired flute flourishes.
Ian Anderson's drab vocals don't help, failing to add any extra colour to an already dreary palette. Having said that, the album isn't a total write-off. So while some of the songs are enjoyable to listen to in isolation, this isn't really an album to be experienced 40 minutes at a time. As such, I'll give "Benefit" a 2 star rating, since I believe it's a record that established Jethro Tull fans will really dig. But if you have only a passing interest in their later works, there's no real reason to listen to this.
This is more of a hard rock oriented album than a progressive album as they hadn't quite established that sound yet. It was released at the same time that so many riff oriented artists were releasing albums, thus, to follow suit, Anderson also considers this a riff-oriented album. It definitely is more guitar oriented and based off simpler rock riff than what their later albums would be, but it also shows a natural movement towards the more folk and progressive side.
It also shows a more natural progression towards the upcoming and ever popular 'Aqualung' album to come. It starts out with 'With You There to Help Me' and with an echoing flute and a folk-ish lilt, you can hear the beginning of the sound that they would become famous for.
There are also hints of the progressive music to come with non-standard chord changes aplenty. The song stays in the folk feel but with occasional bursts of guitar throughout. There is a nice call and answer section at the extended instrumental ending between flute and guitar that make things interesting. It's in this track that the weakness of the album starts to show through.
Label: Chrysalis - F2 • Format: CD Album, Reissue • Country: US • Genre: Rock • Style: Folk Rock, Prog Rock Jethro Tull - Benefit (, CD) | Discogs Explore/5(23). “Singing All Day,” “Witch's Promise,” “Just Trying to Be,” and the original UK mix of “Teacher” are the bonus tracks added to this record, the band's first gold album, with standout tracks “To Cry You a Song,” “Son,” and “For Michael Collins, Jeffrey and Me” also on tull 4/5(2). Benefit was the album on which the Jethro Tull sound solidified around folk music, abandoning blues entirely. Beginning with the opening number, "With You There to Help Me," Anderson adopts his now-familiar, slightly mournful folksinger/sage persona, with a rather sardonic outlook on life and the world; his acoustic guitar carries the melody, joined by Martin Barre 's .
Label: Chrysalis - F2 • Format: CD Album, Reissue • Country: US • Genre: Rock • Style: Folk Rock, Prog Rock Jethro Tull - Benefit (, CD) | Discogs Explore/5(23).
Released: 24 April (UK) Benefit is the third studio album by the British rock band Jethro Tull, released in April It was the first Tull album to include pianist and organist John Evan – though he was not yet considered a permanent member of the group – and the last to include bass guitarist Glenn Cornick who was fired from the band upon completion of touring for the . Get all the lyrics to songs on Benefit and join the Genius community of music scholars to learn the meaning behind the lyrics.
“Singing All Day,” “Witch's Promise,” “Just Trying to Be,” and the original UK mix of “Teacher” are the bonus tracks added to this record, the band's first gold album, with standout tracks “To Cry You a Song,” “Son,” and “For Michael Collins, Jeffrey and Me” also on tull 4/5(2).
This is the discography of the British progressive rock band Jethro Tull who formed in Blackpool, Lancashire in Initially playing blues rock, the band's sound soon incorporated elements of British folk music and hard rock to forge a progressive rock signature. The band were led by vocalist/flautist/guitarist Ian Anderson, and have included other significant members such as . Jethro Tull - Benefit: Tracklist (Vinyl) A1: With You There To Help Me: A2: Nothing To Say: A3: Alive And Well And Living In: A4: Son: A5: For Michael Collins, Jeffrey And Me: B1: To Cry You A Song: B2: A Time For Everything? See more tracks * Items below may differ depending on the release.
Benefit was the album on which the Jethro Tull sound solidified around folk music, abandoning blues entirely. Beginning with the opening number, "With You There to Help Me," Anderson adopts his now-familiar, slightly mournful folksinger/sage persona, with a rather sardonic outlook on life and the world; his acoustic guitar carries the melody, joined by Martin Barre 's .
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