Cup Of Wonder
The Annotated Jethro Tull Lyrics Page

Essays on the art of Jethro Tull


~ Love From The Fields ~

The Imagery Of Pagan Britain
In The Songs Of Ian Anderson

By Peg Aloi

 

This article was originally published in Obsidian Magazine,
vol.1, issue 2 (1998). By kind permission of Peg Aloi.

"Have you seen Jack in the Green?
With his long tail hanging down?
He quietly sits under every tree... "

(Ian Anderson, "Jack in the Green,"from Songs From the Wood)

It is a rare Pagan who doesn't enjoy the early music of Jethro Tull. The band's leader and primary songwriter, Ian Anderson, is to many of us a sort of musical legend, and someone who has helped define, or at least enhance, our Pagan world view. With his lilting Celtic melodies, lusty flute trills, intricate rhythms, and, perhaps more than anything, his memorable lyrics, Anderson may well be the closest thing to a bard rock and roll has. Many a fan has probably wondered if he is in fact Pagan himself, with song titles like "Ring Out Solstice Bells", "Pan Dance", "Beltane" and "Cold Wind to Valhalla", to name but a few.
It is perhaps not worthwhile to speculate whether Ian Anderson is a Pagan, or a Neo-Pagan, or a Witch, or a Druid. It hardly matters. What is important is that his songs have been such a source of pleasure and inspiration to so many who follow these paths. Indeed, several of Jethro Tull's albums have become classic favorites in the realm of pagan music, most notably Songs From the Wood. There are certain constants you will find in the music collections of most Pagans who are avid music lovers - among them albums by groups like Shaman, Dead Can Dance, Enya, Clannad, The Waterboys, Gabrielle Roth and the Mirrors, or The Cocteau Twins, along with the odd party mix or ritual tapes containing pieces like Carl Orff's "Carmina Burana" or Kate Bush's "Waking the Witch," or "Season of the Witch" by Donovan, or "Strange Brew" by Cream, or almost anything by Loreena McKennitt.

What qualities, if any, do these groups or styles of music have in common? Unfortunately, there is no one characteristic that is shared. Some of this music is ethereal and trance-inducing; some of it is earthy and folky; some of it passionate and ritualistic. Compared to these se lections, the music of Jethro Tull can often be called simply loud, raucous rock and roll, with some occasional Elizabethan or Celtic influence thrown in. What sets it apart is the world view that informs so many of Anderson's lyrics: English, bawdy, often sentimental, occasionally cynical, and, very frequently, Pagan.

What makes these lyrics Pagan? Four emphases: rural settings that often describe magical or sacred sites (such as ley lines and stone circles); folklore and customs from pre-Christian, Celtic traditions; a view of love and sex that is by turns romantic (almost courtly) and earthy (the tumbling-of-milkmaids variety); and last but not least, a commentary on Christianity that borders on agnostic (and is most definitely cynical). This last emphasis is most evident on the album Aqualung , with its songs about urban decay, religious hypocrisy, and the darker side of human nature. It is the first three themes that concern us here - rural settings, Celtic folklore and sex - as they occur in four albums, beginning with Songs From the Wood , moving to Heavy Horses , Stormwatch , and A. Other albums, old and new, will be mentioned along the way.

A Country Man: Ian Leaves London Behind

Many of the songs most memorable for their rural landscapes and scenarios were written during a period when Anderson's lifestyle was undergoing a gradual yet dramatic change: namely, he was writing songs in his country home, rather than in hotel rooms while touring. Most Tull fans will immediately realize that I am speaking of the middle years (roughly 1976 through 1982) of the group's amazingly prolific career, which began in the late '60s and has continued into 1995. Die-hard Tull fans may agree to disagree about which albums are the best or their favorites, but time and again I find that two albums recur among nearly every fan's "top ten" (out of two dozen albums), and usually near the top of the list. These two albums, famous for their rustic appeal, Pagan imagery, and nostalgic view of English country life, are of course: Songs From the Wood and Heavy Horses . Just as the songs on these albums reflect a way of life at odds with a rapidly-changing world of high technology, so too they paved the way for later songs dealing with the threat of ecological disaster (songs dealing with t hese themes are particularly prevalent on Stormwatch , A, and Crest of a Knave). Musically, these two albums feature a marvelous melding of Elizabethan and rock stylings; perhaps no one in rock history has made this combination sound as smooth and natural as Jethro Tull. The title track from Songs From the Wood contains poetry of the purest sort, a passionate paean to rural life, and a plea to city dwellers:

Let me bring you songs from the wood
To make you feel much better than you could know
Dust you down from tip to toe
Show you how the garden grows
Hold you steady as you go
Join the chorus if you can
It'll make of you an honest man.

The sheer exuberance of this "call to arms" is matched by the layered harmonies, reminiscent of a group of mead-fortified madrigal singers. Enter the single flute, and syncopated drums, giving this tune the feel of a dance at a medieval wedding feast:

Let me bring you love from the fields
Poppies red and roses filled with summer rain
To heal the wound and still the pain
That threatens again and again...

Then heavy electric guitars and fuller percussion are added, and the singer proclaims himself a bard, a bringer of pleasure, and offers the cup of fellowship to others:

Let me bring you all things refined
Galliards and lute songs served in chilling ale
Greetings, well met, fellow, hail!
I am the wind to fill your sail
I am the cross to take your nail
A singer of these ageless times
With kitchen prose and gutter rhymes...

"Velvet Green" and "The Whistler" are love songs, seemingly told by a country traveler or troubador. The narrator of both makes no promises, and tells his lady love he may be gone from her at any time, even as he enjoys her company today. In "The Whistler", for example, the minstrel of the title makes it clear he will only stay for a week at a time, hinting at hearts he has broken in the past. For all his footloose ways, however, this lover is as romantic as they come, and his gifts are generous, at least by rural standards:

I'll buy you six bay mares to put in your stable
Six golden apples bought with my pay
I am the first piper who calls the sweet tune
But I must be gone by the seventh day...
All kinds of sadness I've left behind me
Many's the day when I have done wrong
But I'll be yours forever and ever
Climb in the saddle and whistle along...

Where this young man is a lover, the hero of "Velvet Green"seems a proud seducer:

Let me have your company, yes, take it in your hands,
Go down on velvet green with a country man
Who's a young girl's fancy and an old maid's dream
Tell your mother that you walked all night on velvet green...

Alongside its commentary on the hypocrisy of sexual mores, this song also contains sensual descriptions of the countryside:

One dusty half-hour's ride up to the north
There lies your reputation and all that you're worth
Where the scent of wild roses turns the milk to cream...
And the long grass blows in the evening cool
And August's rare delights may be April's fool
But think not of that my love I'm tight against the seam
And I'm growing up to meet you down on velvet green...

The lover's bold speculation that his companion may end up pregnant ("August's rare delights may be April's fool") echoes the "year and a day" custom of handfastings in English villages. After a year and a day, if a couple proved fertile, it was considered appropriate for them to have a "legal" wedding; if not, their relationship could be ended with no obligation of marriage. Not that marriage is on this lad's mind:

Now I may tell you that it's love and not just lust
And if we live the lie, let's lie in trust
On golden daffodils that catch the silver stream
That washes out the wild oat seed on velvet green
We'll dream as lovers under the stars
Of civilizations raging afar
And the ragged dawn breaks on your battle scars
As you walk home cold and alone on velvet green...

The descriptions of the natural world in this song are wonderfully erotic and full of double meaning. It has been compared to the old folk favorite "Black Jack Davy" recorded by Steeleye Span and other groups. The live version of "Velvet Green" which appears on Twenty Years of Jethro Tull is Tull at its best. Let us move along to some songs which deal more specifically with folklore and myth. Affected at least in part by his country lifestyle, Anderson imbues these lyrics with reminiscences of village traditions that pre-date Christian holidays. Today, in some remote parts of England, ancient ways and customs (from a time when nature was seen as a manifestation of the divine, rather than a creation of it) are still practiced alongside the more modern modes of religious worship.

The Wheel of the Year, The Ley of the Land

"Ring Out, Solstice Bells"is a festive tune celebrating the winter solstice; it tells of druids dancing with maids, beneath mistletoe, and welcomes the return of the "sister sun". This song has also been released on a limited edition 45 RPM record with the songs "Pan Dance", "March the Mad Scientist" and "A Christmas Song". I believe this is a collector's item now, so I am thrilled that my brother thought to buy one for me some years ago. "Jack in the Green" is a favorite with Pagans, being, as it is, a tribute to The Green Man of Celtic legend. Anderson portays this figure as one whose life is a struggle, with "no place to dance, no time for song." (There are two Boston-based rock bands whose names come from this album: one is Solstice Bells, from the song described above; another has taken their name, Mistlethrush, from "Jack in the Green. ") This song is an ironic look at the place of nature deities in urban areas:

Jack do you never sleep,
Does the grief still run deep in your heart?
Or will these changing times, motorways, power lines,
Keep us apart? Well, I don't think so;
I saw some grass growing through the pavement today...

A song that is often sung at The Medieval Manor, a local dinner-theatre restaurant, is "Cup of Wonder."It paints a rich portrait of a boisterous gathering:

May I make my fond excuses for the lateness of the hour
But we accept your invitation
And would bring you Beltane's flower
For the May Day is the great day,
Sung along the old straight track
And those who ancient lines did ley
Will heed the song that calls them back.

"The old straight track" and "those who ancient lines did ley" refer to ley lines; The Old Straight Track is, in fact, a famous book on the subject by Alfred Watkins. Ley lines are geographic reference points: straight unbroken lines which connect the major sacred sites in England such as Stone-henge, Avebury, Silbury Hill and others. The stone circles, chieftain's dwellings, and sacred wells that occur along these ley lines were no doubt once the settings for ancient feasts, rituals and celebrations. Anderson describes such gatherings with an ironic understanding of the nature of Druidic human sacrifice, even in the midst of revelry:

Pass the cup and pass the lady,
And pass the plate to all who hunger
Pass the wit of ancient wisdom,
Pass the cup of crimson wonder...
Join in black December's sadness
Lie in August's welcome corn
Stir the cup that's ever-filling
With the blood of all that's born...

Though an obvious reference to the Christian myth of the sacrificial wine, the cup that is "ever-filling with the blood of all that's born" also clearly reflects the ancient Celtic belief in the endless cycle of death and life, wherein humans are irrevocably joined with the earth. "Black December's sadness" and "August's welcome corn" obviously refer to Yule and Lughnasa. This is a song about Pagan festivals! Where friends gather to celebrate the earth's mysteries and to share meat and drink and, well...some listeners may bristle at the line "pass the lady," but the image seems more likely one of affectionate huntsmen nuzzling a receptive serving wench, than one of brutality or force. {For those seeking a feminist perspective, however, listen to "Hunting Girl", in which a wealthy aristocratic young lady seduces a "low-born so and so". This tune is one popular with live audiences, as Ian uses his flute in a demonstrative fashion when he sings the lyrics "I raised the flag that she unfurled". The hunting girl is apparently quite aggressive and sexually dominating:

Unbridled passion, I took the bit in my teeth
Her standing over me on my knees underneath...
Boot leather flashing and spur-necks the size of my thumb
This high-born hunter had tastes as strange as they come...

Songs From the Wood concludes with two very different songs: the first, "Pibroch", is a sort of dirge of unrequited love. A man travels through the forest, "cap in hand", to propose to his intended. When he arrives, he finds he is too late:

Catching breath, as I look through the dining room window
Candlelit table for two has been laid;
Strange slippers by the fire, strange boots in the hallway
Put my cap on my head, I turn and walk away.

Punctuated in th e middle by a lonely, medieval-style dance tune, as well as with heavy metal guitars, this song in and of itself characterizes the diverse musical stylings to be found in Anderson's arrangements. I actually used the middle section for a choreography assign ment in college, and was roundly complimented on my unusual choice of music. My partner and I also added medieval style costume pieces over our ballet tights and shoes, and used a combination of folk steps to create a rather rustic pas-de-deux .
"Pibroch" is followed by a gentle love song called "Fires at Midnight", one of the more peaceful renditions of country life we have seen:

I believe in fires at midnight, when the dogs have all been fed,
A golden toddy on the mantle, a broken gun beneath the bed,
Silken mist outside the window, frogs and newts slip in the dark;
Too much hurry ruins a body, I'll sit easy, fan the spark.
Kindled by the dying embers of another working day;
Go upstairs, take off your makeup, Fold your clothes neatly away; Me, I'll sit and write this love song as I all too seldom do,
Build a little fire this midnight, It's good to be back home with you.

Many of Tull's albums could be described as having a central theme; some, like Thick as a Brick and A Passion Play are based upon a singula r concept and flow from one segment into another with only minimal musical transitions. Collectors are familiar with the packaging gimmicks employed in some of the earlier albums: pop-up figures on Stand Up; a hardcover album with pages of photographs for Living in the Past; a many-paged newspaper folded into Thick as a Brick. Few songwriters are prolific enough to be able to enjoy such a luxury: designing and producing each album with a particular theme in mind, from one year to the next. Songs From the Wood is particularly satisfying in this regard, as is Heavy Horses.While the former celebrates rural life with tales of drinking and debauchery in the forest, the latter is a collection of songs united by one primary element: an emphasis on animals.

The Nature of the Beast

The title track of Heavy Horses is its centerpiece, with a beautiful orchestral arrangement that one rarely hears performed live (though I had this privilege recently at the Orpheum Theatre, during the Twelve Divinities tour, and it was stunning, to say the least). This song is a haunting, often heartbreaking tribute to the large work horses who once farmed the fields of England. Motorized farm machinery has all but eliminated the need for them. Yet these magnificent animals are still h onored in England; horses have been sacred in the British Isles for thousands of years, as the many chalk hill figures will attest to, particularly the famous Paleolithic figure, The White Horse of Uffington. The Goddess Epona (where we get our word for "pony") figures heavily in British mythology, as do other horse goddesses.
Horses are the sacred cows of the British Isles. In fact, the British aversion to eating horse meat even prevailed in times of near famine during World War I, because of this remnant of ancient myth. Wild horses run free in the New Forest area of southern England, and in many parts of Ireland and Scotland, though many of these are ponies or smaller breeds. Anderson's song tells of the "heavy horses,"like the Clydesdale and the Percheron:

Iron-clad feather feet pounding the dust
An October's day towards evening
Sweat-embossed veins standing proud to the plow
Salt on a deep chest seasoning...
Let me find you a filly for your proud stallion seed
To keep the old line going
And you'll stand there abreast at the back of the woods
Behind the young trees growing
To hide you from eyes that mock at your girth
You're eighteen hands at the shoulder...

Even if you can't visualize their size, let it suffice to say, these are truly huge animals. I have seen Clydesdales up close, and they easily stand seven feet tall from the ground to the bridle. No wonder they were the only farm implement needed to work an entire field! It is sad to think they have fallen into disuse, or, worse, that some may have been detroyed when they outlived their function, though I would hope this is unlikely in a country that thinks as highly of its animals as England does.

And one day when the oil barrels have all dripped dry
And the nights are seen to draw colder
They'll beg for your strength, your gentle power
Your noble grace and your bearing
And you'll strain once again to the sound of the gulls
In the wake of a deep plough sharing...
Heavy horses move the land under me
Behind the plough gliding, slipping and sliding free
Now you're down to the few and there's no work to do
The tractor's on its way...
Bring me a wheel of oaken wood, a rein of polished leather
A heavy horse and a tumbling sky, brewing heavy weather...

Smaller animals appear on this album: namely cats, mice, and moths. I recommended this album to an acquaintance once in college, and he wrote me a letter saying that "One Brown Mouse"was his favorite song on it. I particularly remember this because this young man killed himself a year or so later; I wondered at the time if the song held any clues to his emotional state. I suppose it's best not to read too much into such things; on one level, this song is simply an exploration of a man's relationship with his pet mouse, which he keeps in a cage. But it also compares the lives of men to rodents with no freedom:

Smile your little smile, take some tea with me awhile,
Brush away that black cloud from your shoulder,
Twitch your whiskers, feel that you're really real,
Another teatime, another day older...
Do you wonder if I really care for you?
Am I just the company you keep?
Which one of us takes his solace on the old treadmill?
Who hides his head, pretending to sleep?

"..... And The Mouse Police Never Sleeps" is an odd, humorous song about, naturally, cats. Its lyrics are some of Anderson's most unusual:

Muscled black with steel-green eyes, swishing through the rye grass
With thoughts of mouse and apple pie, tail balancing at half-mast
And the Mouse Police never sleeps; climbing on the ivy;
Windy rooftop weathercock; warm-blooded night on a cold tile...
Windowbox towncrier; of purest feline ancestry...
Look out little furry folk; it's the all-night working cat
Eats but one in every ten, leaves the others on the mat...

These words remind me of the playful yet vicious lyrics to "Bungle in the Jungle", in the way they portray the lives of predatory animals as they compare to the lives of working men and women, "down by the waterhole, drunk every Friday". Anderson obviously strongly identifies the problems of animals with those of humankind, whether domestic or wild. In "Rover,"for example, the narrator of the song compares his romantic devotion to that of a dog, but with the dog's unconditional loyalty comes a natural tendency to run in the direction of the first distraction.

I chase your every footstep and I follow every whim
When you call the tune I'm ready to strike up the battle hymn
My lady of the meadows, my comber of the beach
You've thrown the stick for your dog's trick
But it's floating out of reach
The long road is a rainbow and the pot of gold lies there
So slip the chain and I'm off again, you'll find me everywhere...

The songs on Heavy Horses demonstrate an uncanny ability to identify with animals, often sympathetically but, as in the case of "Moths,"not always so:

Oh the leaded window opened to move the dancing candle flame
And the first moths of summer suicidal came
To join in the worship of the light that never dies...
Life's too long, as the lemming said,
As the candle burned, and the moths were wed...

There are also a couple of songs on this album not specifically dedicated to animals, but still keeping with the rural themes we have been discussing. "Acres Wild,"for example is yet another song lauding the wisdom of having sex in the great outdoors:

I'll make love to you in all good places
Under black mountains, in open spaces
By deep brown rivers that slither darkly
Through far marshes where the blue hare races...

In a country whose climate is as chilly, wet, and unpredictable as England, the idea of making love outd oors, while romantic, strikes us as impractical and uncomfortable. But Anderson doesn't seem to mind. This theme is repeated in the acoustic favorite "Dun Ringill" from the album Stormwatch, released the year after Heavy Horses. Dun Ringill is a real place, near Ian Anderson's home. It's not just a great place for an assignation; it's also a sacred site. My friend Michael, a Celtic studies student and musician, told me he travelled to this remote locale in northern Scotland. It is apparently quite a magical spot, right on the ocean, with ring stones. I had the distinct honor of hearing this song performed live on the Divinities tour, and it was simply sublime. I know a number of Tull fans who call this song their favorite:

...We'll watch the old gods play, by Dun Ringill
We'll wait in stone circles 'til the force comes through
Lines join in faint dischord and the stormwatch brews
A concert of kings as the white sea snaps
At the heels of a soft prayer, whispered
In the wee hours I'll meet you, down by Dun Ringill
Oh, and I'll take you quickly, by Dun Ringill...

The live version of this song on Twenty Years of Jethro Tull is also phenomenal, but so short that one aches for more as the applause swells at the end... I always listen to it twice through, every time. Recently, an online newsgroup devoted to Jethro Tull featured various fans' interpretations of this song: "Lines join in faint dischord" was the source of some speculation. Note well, dear readers: I believe it refers to lines of poetry , spoken by bards or druids about their chieftains and kings. Their recital may also be a tribute ("a soft prayer, whispered") to the gods of the sea, hundreds of feet below the cliff whereon sits their tiny hill fort, Dun Ringill...
"North Sea Oil" laments the loss of natural habitats to the greedy quest for oil. Drilling in the North Sea has caused a number of environmental accidents, the largest of which occurred off the northern coast of Scotland in January of 1993, while I was living in Dorchester-on-Thames. The news stations carried twenty-four hour coverage of this disaster; there was nowhere near as much media attention paid to the Exxon Valdez oil spill, although it was in many ways far more damaging than the one in the British Isles. Anderson's mention of environmental concerns in his songs after Stormwatch continued to increase. Just last month, another spill occurred off the coast of Wales.

With A , Anderson began to write songs with more futuristic themes and fewer arrangements based on medieval stylings. But this a lbum is notable for its images of environmental decay and nuclear annihiliation; "Protect and Survive" is particularly chilling, given that it is also the title of a pamphlet produced by the British government, instructing citizens on how to survive a nuclear explosion:

They said Protect and you'll survive;
But our postman didn't call...

"And Further On"is a song of speculation:

We saw the heavens break, and all world go down to sleep...
And clouds on mossy banks dripped acid rain from craggy steeps...
And troubled dynasties, like legions lost have blown away...
Will we still be there, further on?

These songs are not love songs, or songs celebrating country life; they are songs that serve as abrupt reminders of impending environmental disaster. The costum es worn by the band members on the album cover, as well as during the album's concert tour, are markedly different from the troubadour/hippie apparel fans were used to: Anderson and the others wore stark white jumpsuits, almost as if they were preparing to enter an underground missile silo. This seemed a visual wake-up call, a turning away from the band's earlier nostalgic look. For Pagan listeners, this mirrors our tendency as a community to embrace the romance of past times, when people worshipped the divine in nature, while not always seeing that nature is, in fact, in great distress here and now.

I think Anderson is to be applauded for continuing to address these ideas. He has also become more political in recent years, most notably in songs like "Fallen on Hard Times", "Farm on the Freeway", "Part of the Machine" and "Clasp". Even "Beastie" from The Broadsword and the Beast , though most interpret it as a song about the animal urges in men, could also be seen as an archetypal figure, one of technology grown huge and terrible ("Feel his burning breath a-heaving/smoke oozing from his stack"). Tull's music continues to evolve and change, moving further away from its roots in folk, blues, and Elizabethan influences. Yet it retains its unique sound, and Anderson continues to write great, thought-provoking songs. His latest album, Roots to Branches , was rumored before its release to be some sort of continuation of Songs From the Wood , probably because of the title. It is nothing like that earlier album in style, yet the image of something which contains its oldest beginnings and its newest growth seems appropriate. For all of the changes in the personnel in Jethro Tull, its oldest influences - Anderson and Martin Barre, the band's lead guitarist - show no sign of slowing down. Though Anderson has recently sold his salmon farm in northern Scotland, who knows what other pursuits he may follow when or if he retires from rock and roll? Jethro Tull is a rare occurrence in popular music: a group that has reached legendary proportions, with a career spanning nearly thirty years. And still their shows are continually sold out, still the industry pays them heed (} Guitar magazine recently featured an article on Tull). The power and genius of Anderson's songwriting has inspired and cheered many, from devoted fans in their forties, to teenagers discovering Songs From the Wood for the first time.

I recently had the privilege of seeing Ian Anderson perform in a special concert featuring his recent album, Twelve Divinities. The first half of the performance consisted of most of the instrumental compositions from this recent album; the second half, however, was given over to classic Tull favorites, but with an exciting twist: the addition of full orchestral arrangements - meaning these songs were performed as they were meant to be, but often could not be because the group's usual touring ensemble allowed only electronic, rock-style arrangements. Not that Jethro Tull has ever disappointed, but how wonderful it was to hear intricate, complex tunes like "Heavy Horses", "Dun Ringill", "Life's a Long Song" and "Wond'ring Aloud" performed live. For me, despite our balcony seats amid clouds of cigarette smoke in a steaming, humid theatre on the hottest day of the summer, this was a profound experience, perhaps never to be repeated.

I know several friends for whom the music of Jethro Tull is intimately linked with their discovery of and involvement in Neo-Paganism. For some of us, Anderson's songs provide a lustrous soundtrack to our lives, a brocade tapestry filled with forests and meadows, lovers and minstrels, which, at closer inspection, reveals a pirouetting, wild-eyed flutist, cavorting through the trees. I hung this tapestry on my walls for years. Lately, though, it seems to have changed, and grown: the forest less pristine, the meadows barren, the lovers grown complacent, the minstrels grown thoughtful, and, yes, the one with the wild eyes...he is not so much cavorting as he is walking, his eyes not so wild as they are wise.

* PEG ALOI is a writer, singer, teacher, actress, calligrapher, herbalist, astrologer and Tull scholar.

Notable Albums and Songs:

  • Living in the Past (especially "Witches Promise,""Christmas Song,""Wond'ring Again")
  • Minstrel in the Gallery (especially "One White Duck/0 = Nothing at All,""Cold Wind to Valhalla,""Minstrel in the Gallery,"and "Baker Street Muse") Songs From the Wood (all songs)
  • Heavy Horses (all songs)
  • Stormwatch (especially "North Sea Oil,""Dun Ringill,""Something's On the Move")
  • A (especially "Protect and Survive,""And Further On,"and "Pine Marten's Jig")
  • The Broadsword and the Beast (especially "The Clasp", "Beastie", "Broadsword","Pussy Willow", "Seal Driver", "Cheerio")
  • Twenty Years of Jethro Tull (especially previously unavailable songs like "Jack Frost and the Hooded Crow", "Beltane", "Summerday Sands", "Pan Dance", "Coronach" and live versions of favorites like "Dun Ringill" and "Velvet Green")

Resources:

  • A New Day (magazine) c/o David Rees 75 Wren Way Farnborough, Hants GU14 8TA ENGLAND
  • On-line newsgroups: alt.music.jethro-tull and http://remus.rutgers.edu/JethroTull JTull@jtull.rutgers.edu (The on-line groups include an "e-zine" called The St. Cleve Chronicle, which unfortunately isn't issued any longer.)
  • Chrysalis Records, Inc. 645 Madison Avenue New York, NY 10022


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