Jethro Tull
Benefit

THE REVIEW

“Benefit was the continuation of Stand Up: it contained heavy rock riffs along with a few more acoustic and delicate episodes. In some ways, I think it's a darker album, lacking the warmth, irony, and brightness of Stand Up”.

These were the words of Ian Anderson, the great leader, flutist, singer, and guitarist of Jethro Tull regarding 'Benefit', the 1970 album. But if he didn't like it at the time, all his fans think very differently and consider it a fundamental album and a milestone in the band's discography.

Perhaps Ian only meant to say that this is a transitional album, just a step below the two albums between which it was born, namely 'Stand Up' and 'Aqualung'. From the very first flute notes with echo effect, you can sense the power of 'Benefit': With you there to help me is one of the band's great classics, with a prominent beautiful electric guitar. Another nice riff opens Nothing to say, with a very beautiful melody line, especially in the singing with the acoustic guitar in the background.
Ian Anderson has a wonderful voice in this song. John Evans, who calls himself John Evan “for purely commercial reasons” as he claims, is an old school friend of Ian Anderson and a founding member of the John Evan Band, a primitive '60s rhythm'n'blues version of Jethro Tull. Ian calls him back to play the keyboard parts of this LP, making him appear as a guest musician. His piano work in Alive And Well And Living In is remarkable and already shows how this fantastic keyboardist is destined to leave an indelible mark on Jethro Tull, as he will stay in the band until 1979, the best period.

Son is perhaps the least convincing song on the album, where Anderson does not play but only sings. It is nevertheless a brief and pleasant musical episode. However, when Ian picks up the acoustic, one of the most beautiful and passionate melodic songs is born: For Michael Collins, Jeffrey And Me is simply sublime from start to finish, with some particular lyrics. They narrate the jealousy of astronaut Michael Collins, a member of the Apollo 11 mission, who remained in orbit around the moon on the spacecraft while Armstrong and Aldrin walked on the lunar surface (I’m with you L.E.M./Though it's a shame that it had to be you).
After all, Ian Anderson is one of the greatest lyricists in rock history. Martin Barre's guitar plays at a granite and solid rhythm in the phenomenal riff of To Cry You a Song, an hard rock as hard as stone. Ian Anderson sings with a filtered and doubled voice, creating a magical effect. Critics often thought that To Cry You A Song was dedicated to drugs (Flying so high, trying to remember / How many cigarettes did I bring along), but in reality, the band has always been against hallucinogenic substances and has always denied it.

A Time For Everything is a song in the wake of Son, unfortunately faded into oblivion, which features a very interesting flute break, accompanied by John Evan's piano. Inside is another masterpiece, where Glenn Cornick's devilish bass speaks six languages. The riff of Play In Time is a rare example of hard rock performed with the flute. Ah! That flute! It was great that Ian Anderson decided to import it into the world of rock! Martin Barre has fun with the wah-wah in the breaks and Clive Bunker gives a nice performance behind his drum kit. A beautiful acoustic arpeggio begins Sossity; You’re a Woman, a first taste of a sarcastic derision towards modern society, especially the petty-bourgeoisie of England (even if Anderson will lash out against this social class fiercely in 'Aqualung' and partially in 'Thick as a Brick').

If we want to find a flaw in 'Benefit', it must be said that it is not optimally recorded and the sound suffers quite a bit. In particular, the rhythm section stands out less and seems almost in the background; moreover, in some parts the bass is almost entirely missing. In the remastered version, they try to save what can be saved, but miracles can't be performed.
At the time, the “Benefit” was the album that gave the impulse to create the ultimate masterpiece of Jethro Tull, that fantastic 'Aqualung' that we all know. Already during the 1970 live tour, the Jethro were performing an early version of My God, with lyrics and interlude slightly different from how we know them. 'Benefit' thus also has historical importance for the band.

It also marked the break with the talented bassist Glenn Cornick, who left the band for reasons that are still not entirely clear (although it is rumored that the reason might be because he was quite a womanizer and too often preferred to join some party rather than arrive in time for the band's rehearsals). He will be replaced by Jeffrey Hammond, who has always been a great friend of Ian Anderson. Often he has made dedications to him: we found them in This Was (A song for Jeffrey) and in Stand Up (Jeffrey goes to Leicester Square) and also in 'Benefit'. In fact, in addition to the already mentioned For Michael Collins, Jeffrey and me, he dedicates a line from Inside to him (Get someone to bring our friends here for tea in the evening / Old Jeffrey makes three).

Even if Ian Anderson continues to maintain today that it's a dark and gloomy album, there is no Jethro Tull fan who does not know and above all love this little gem