Tull Brao

Stand Up is the second album by Jethro Tull. Prior to this album, the band's original guitarist Mick Abrahams had left the band due to musical differences with Ian Anderson. Abrahams wanted to stay with the blues-rock sound of This Was, while Anderson wished to branch out into other musical forms.
Stand Up represents the first album project on which Anderson was in full control of the music and lyrics. The album also marks the first appearance of guitarist Martin Barre who appeared on every Jethro Tull album from this point on. The album goes in a different direction from Ian Anderson's earlier work, revealing influences from Celtic music, folk and classical music. The instrumental "Bourée" (one of Jethro Tull's better-known songs) is a re-working of "Bourrée in E minor" by J.S.Bach.

Heavy Horses is the eleventh studio album by Jethro Tull, released on 10 April 1978. It is considered the second album in a trilogy of folk-rock albums by Jethro Tull, although folk music's influence is evident on a great number of Jethro Tull releases. The album abandons much of the folk lyrical content typical of the previous studio album, Songs from the Wood, in exchange for a more realist perspective on the changing world. Likewise, the band sound is harder and tighter. The album reached #19 on the Billboard 200 album chart.

The group's second album, with Anderson (vocals, flute, acoustic guitars, keyboards, balalaika), Martin Barre (electric guitar, flute), Clive Bunker (drums), and Glen Cornick (bass), solidified the group's sound. There is still an element of blues, but except for "A New Day Yesterday," it is far more muted than on their first album, as Mick Abrahams' blues stylings are largely absent from Martin Barre's playing…

The prog/folk rockers Jethro Tull have re-recorded their most legendary album in its entirety as a live album.

Under Wraps is the 15th studio album by the band Jethro Tull, released in 1984. The songs' subject matter is heavily influenced by bandleader Ian Anderson's love of espionage fiction. It was controversial among fans of the band due to its electronic/synthesizer-based sound, particularly the use of electronic drums. Dave Pegg has been quoted as saying that the tracks cut from the sessions for Broadsword and the Beast would have made a better album, while Martin Barre has referred to it as one of his personal favourite Tull albums. The album reached No. 76 on the Billboard 200 and No. 18 on the UK charts. The single "Lap of Luxury" reached No. 30.

Listen to this collection, put together to capitalize on the explosive growth in the group's audience after Aqualung, and it's easy to understand just how fine a group Jethro Tull was in the early '70s. Most of the songs, apart from a few heavily played album tracks ("Song for Jeffrey," etc.) and a pair of live tracks from a 1970 Carnegie Hall show, came off of singles and EPs that, apart from the title song, were scarcely known in America, and it's all so solid that it needs no apology or explanation. Not only was Ian Anderson writing solid songs every time out, but the group's rhythm section was about the best in progressive rock's pop division. Along with any of the group's first five albums, this collection is seminal and essential to any Tull collection, and the only compilation by the group that is a must-own disc.