Label: Chrysalis Records (UK), ILPS 9123
Style: Rock, Art-Rock
Country: Blackpool, Lancashire, England
Time: 41:56
Format: Flac Tracks 16/44,1 kHz
Size: 263 Mb
Rolling Stone (magazine). By Jack Shadoian. August 6, 1970 4:00AM ET.
The
popularity of Jethro Tull continues to amaze me, They draw good crowds,
they get lengthy interviews and writeups in the rock press. They turn
people on. I’ve got to think that Ian Anderson must be an extremely
nice, cooperative, charismatic, or some such kind of cat, because I find
his records pretty lame and dumb.
The new album, Benefit, is a
sluggish bore — a kind of Anthology of Rock Muzak, performed
dispiritedly and mechanically. Especially rhythm — each track creaks
stiffly, but given the barren, derivative material Anderson has come up
with, the wooden delivery is understandable. His idea of a song is to
get some inexpressibly commonplace snippet of melody, repeat it, affix
an inane riff or two, and let the boys pound it out — with some
occasional and usually ill-advised chirping flute for "texture." To top
it all, I find his singing (this time around) close to vile. But it’s
the cold, noisy, insensitive execution of the music (however vapid in
and of itself) that provides the true and irremediable pall.
So who
needs it? Lots of people, it seems. Has it come to pass that the rock
audience is so jaded that a minute or two of flaccid "jazz" and some
penurious gestures towards the "exotic" can effectively disguise blatant
mediocrity?
01. A1 With You There To Help Me (06:15)
02. A2 Nothing To Say (05:11)
03. A3 Alive And Well And Living In (02:47)
04. A4 Son (02:50)
05. A5 For Michael Collins, Jeffrey And Me (03:46)
06. B1 To Cry You A Song (06:12)
07. B2 A Time For Everything (02:44)
08. B3 Inside (03:46)
09. B4 Play In Time (03:47)
10. B5 Sossity - You're A Woman (04:33)
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