Jethro Tull

Jethro Tull - Living In The Past (1972) [2CD] {Japan Mini LP Edition 2004}
EAC rip (secure mode) | FLAC+CUE+LOG -> 505 Mb | MP3 @320 -> 197 Mb
Full Artwork @ 300 dpi (jpg) -> 60 Mb
© 2001 Toshiba-EMI / Chrysalis | TOCP-67369/70
Rock / Prog Rock / Art Rock

With hit albums like BENEFIT and AQUALUNG (as well as a spectacular live show), Jethro Tull became one of rock's most popular bands by the early '70s. While many were quick to categorize its music as prog-rock (а la Yes, Genesis, etc.), Tull also dabbled in folk, jazz, heavy metal, and blues. After the K161success of the band's previous two albums, Chrysalis Records issued the double album LIVING IN THE PAST, a mix of hits, important album tracks, single/EP-only material, and previously unreleased live tracks.

Excellent addition to any Prog-Rock music collection
Really good follow up to Heavy Horses despite all the difficulty surrounding the band, and reminds us not only how prolific and accomplished Ian Anderson is, but the impact Jethro Tull’s music has had on everything from folk rock and pop to minstrel metal and symphonic cheese.

J-Tull Dot Com is the name of the 20th studio album by the band Jethro Tull. J-Tull Dot Com was released four years after their 1995 album Roots to Branches and continues in the same vein, marrying hard-rock and art-rock with Eastern music influences.

Benefit is the third album by Jethro Tull. It was released in April 1970. It was the first album to feature John Evan on keyboards (albeit as a session player), and the last to feature Glenn Cornick on bass guitar. It achieved number 3 in the UK album charts. The album is heavier than its predecessor, Stand Up, and many of the tracks feature more elaborate arrangements than Tull's earlier material, for example, backwards flute on "With You There To Help Me" and backwards piano and sped up guitar on "Play In Time". Wikipedia

The leap from 1970's Benefit to the following year's Aqualung is one of the most astonishing progressions in rock history. In the space of one album, Tull went from relatively unassuming electrified folk-rock to larger-than-life conceptual rock full of sophisticated compositions and complex, intellectual, lyrical constructs. While the leap to full-blown prog rock wouldn't be taken until a year later on Thick as a Brick, the degree to which Tull upped the ante here is remarkable. The lyrical concept – the hypocrisy of Christianity in England – is stronger than on most other '70s conceptual efforts, but it's ultimately the music that makes it worthy of praise.