In the smoldering crucible of 1968, a British band emerged from the primordial ooze of blues rock, brandishing a flute like a medieval weapon and a sound that was both earthy and ethereal. Jethro Tull's debut album, "This Was", was a sonic manifesto, a declaration of independence from the tired tropes of the genre. It was a raw, visceral, and often bewildering exploration of blues, folk, and jazz, infused with a progressive spirit that would become their hallmark.
The album's title, "This Was", was a nod to the band's past, a recognition of their blues roots. But it was also a wink to the future, a hint of the musical metamorphosis that was already underway. The album's cover art, a sepia-toned portrait of the band, captured this duality perfectly. They were young, hungry, and brimming with potential.
Jethro Tull's lineup at the time was a motley crew of musical misfits. Ian Anderson, the band's enigmatic frontman, was a multi-instrumentalist with a penchant for the flute. His voice was a rasping, bluesy howl, a perfect complement to his eccentric stage presence. Martin Barre, the band's guitarist, was a fiery bluesman with a knack for improvisation. Glenn Cornick, the bassist, provided a solid rhythmic foundation, while Clive Bunker, the drummer, pounded out a relentless beat.
This lineup, however, would soon change, marking a turning point in the band's sound. Guitarist Mick Abrahams, a key contributor to the blues-heavy sound of "This Was", would depart shortly after the album's release, replaced by the more folk-oriented Martin Barre. This shift in personnel would significantly influence the band's subsequent musical direction.
"This Was" was recorded at Sound Techniques Studios in London, a breeding ground for some of the most innovative bands of the era. The album's production was raw and unpolished, capturing the band's energy and spontaneity. The sound was a heady brew of blues, folk, and jazz, with hints of classical and even avant-garde influences. Anderson's flute was a central element, soaring above the mix like a banshee wail.
The album's opening track, "My Sunday Feeling," was a blues-rock stomper that set the tone for the rest of the record. Anderson's flute snaked through the song, while Barre's guitar riffs cut like a knife. The album's centerpiece, "Song for Jeffrey," was a more introspective affair, showcasing Anderson's songwriting prowess. The song's lyrics, a meditation on friendship and loss, were both poignant and enigmatic. This track, along with "A Song for Jeffrey," quickly became fan favorites and staples of Jethro Tull's live performances.
The album's most controversial track, "Cat's Squirrel," was a psychedelic jam that pushed the boundaries of blues rock. The song's free-form structure and experimental instrumentation were a far cry from the traditional blues format. Some critics hailed it as a masterpiece, while others dismissed it as self-indulgent nonsense. This track, in particular, exemplified the band's willingness to experiment and challenge musical conventions.
"This Was" was a critical and commercial success, establishing Jethro Tull as a force to be reckoned with. The album's unique blend of blues, folk, and jazz resonated with audiences hungry for something new and different. Jethro Tull's music was a breath of fresh air in a stale musical landscape. It also marked the beginning of their exploration into progressive rock, a genre they would later become synonymous with.
"This Was" was more than just an album. It was a statement of intent, a declaration of artistic independence. It was the sound of a band finding its voice, a band that would go on to become one of the most influential and enduring acts of the progressive rock era.
