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Benefit

4.6 out of 5 stars 197 customer reviews

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Audio CD, January 8, 2002
$20.66
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$20.66 & FREE Shipping on orders over $35. Details Only 2 left in stock. Sold by MEGA Media and Fulfilled by Amazon. Gift-wrap available.

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Editorial Reviews

Singing All Day; Witch's Promise; Just Trying to Be , and the original UK mix of Teacher are the bonus tracks added to this 1970 record, the band's first gold album, with standout tracks To Cry You a Song; Son , and For Michael Collins, Jeffrey and Me also on tull, er, tap!
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Product Details

  • Audio CD (January 8, 2002)
  • Number of Discs: 1
  • Label: Parlophone
  • ASIN: B00005NTJK
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (197 customer reviews)
  • Amazon Best Sellers Rank: #57,769 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
This is my favorite straight forward bluesy, rock, trippy Tull album. I listened to Benefit the most probably in the 70's (my teenage years), although I loved Stand Up, Aqualung, Thick as a Brick, Minstrel in the Gallery And Songs from the Wood about as much. Tull was one of my top bands then (and now) and I really feel that these albums are some of the best Rock has to offer. Benefit, as the best song-oriented album from the blues/rock stretch in my opinion, really stands out as the gelling of the Tull sound. Martin Barre found his confidence and ran with it while Ian Anderson really picked up the complexity level of his many contributions. Glenn Cornick's bass playing is outstanding and represents some of the best of the era, although this was his last gig with Tull. John Evan joins the band here and adds to the more layered quality and strangely seems to be the glue that binds that classic Tull sound. Other members seem to feed off of the new energy! Benefit feels to me very brooding and powerful...the psychedelic atmoshere is at a peak here as well. I am trying to describe why this album is one of the greats of all time to me, but words do little to describe the powerful emotional impact I feel for this one, for whatever reason...crank it up and feel for yourself! The Extra tracks are a great addition (Teacher was on the original American album) and the sound quality is at a new high. This is an essential recording of the era and a truly great bargain, although lyrics should have been included as well as better track notes (I like it better than Aqualung - newbies could begin here with confidence). Enjoy!!!
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Format: Audio CD
"Benefit" remains my favorite Jethro Tull recording, likely for all the wrong reasons. First, this was the first session where Ian Anderson and his band mates embraced folk music over the blues-tinged sound of their earlier work. Next, Martin Barre sounds engaged, determined, and focused on guitar, and his strong effort here keeps the music well grounded (something that is a failing on some Tull recordings in my opinion). Third, John Evan's returns to the fold and adds some stellar work on keyboards that greatly enrichs the sound. Fourth, I liked Glen Cornick's bass lines better than those by any other Tull bass player. Fifth, Ian Anderson crafted some of his best lyrics for "Benefit," avoiding the ornate and tiring style on both his later and subsequent Jethro Tull recordings. Sixth, Mr. Anderson plays some inspired flute and contributes some excellent acoustic guitar that meshes wonderfully with Mr. Barre's amped up electric guitar.
This recording still retains enough of the edginess and eccentricity that caused Jethro Tull to stand out during the band's early years and that caught my ear way back when. I would recommend getting the remastered CD more for the improved sound quality than the bonus tracks (which aren't bad though).
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Format: Audio CD
In the vast Tull catalogue, this 1970 effort stands out as a neglected classic, coming as it did on the heels of the hugely successful Stand Up. Ian Anderson's songs were becoming more complex, and shifting away markedly from his early Blues influences. The maturity of his songwriting, and of the band's playing, are illustrated perfectly by the opening track "With You There to Help Me", a broody and introspective piece that breaks out into a group tour de force. This album also welcomed keyboards player John Evan, who filled out the sound and freed guitarist Martin Barre to assume the leading instrumental role he has played in the group ever since. Listen to his slashing licks, dueling with Anderson's shrieking echoed flute, which climaxes this track. Magic.
Jethro Tull were touring heavily in the States at this time, accused of neglecting audiences back in the UK, and finding the darker side of the music business unpalatable. In the notes written for this reissue in 2001, Anderson talks of "a growing cynicism" and "a sense of alienation". Ironically, it is such conditions that often bring out the best in songwriters, as they lock themselves away in anonymous hotel rooms, escaping the noise outside by drowning themselves in their music. Anderson was no different, resisting the American influences he felt were creeping into many fellow British bands. His flute had endowed Tull with a distinctly Celtic touch from the start, but he now gave full rein to this aspect on songs like "Play In Time", which is a revved-up electric jig that would have given him plenty of opportunity to play the lunatic on stage. In a similar but quieter vein, "Sossity, You're a Woman" displays a strong folk flavour in Anderson's acoustic guitar playing.
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Format: Audio CD
Benefit marks the third and the last album of the early formative period of Jethro Tull. (The collection Living in the Past, released a couple of years later, is also from this period.) While the band's music has continually changed during this period, Benefit feels more a leap-forward than a gradual evolution. Much of the album sounds startlingly modern and experimental (particularly, Time For Everything, Play in Time) and must have sounded more so at the time of its release. The music is intricate and multi-layered, and yet somehow natural and organic, a feat that is well demonstrated in the opening song, With You There to Help Me. The crescendo of flute, keys, guitars (both acoustic and electric) and vocals is so carefully crafted, that one marvels at the cohesiveness of the piece. Yet, there is nothing gratuitous about it, with every note seeming to serve some higher aesthetic purpose. The use of instrumentation to convey texture and meaning to the song is indeed a novel aspect of the album. For instance, the introduction of the electric guitar in the otherwise acoustic Alive And Well and Living In provides a gritty feel to the song and serves to awaken the listener to the true import of the lyrics. But, the real revelation is Ian's voice and vocalizations. At times, stentorian and impassioned (Son, Nothing To Say) and, at times, tender and caring (Inside, For Michael Collins, Sossity), he bravely soars over the instrumentation and takes melodic centre stage. His lyrical themes do not depart significantly from previous material and, typically, focus on personal issues of life and love; however, the lyrics are more poetic and hint at the kind of imagery that Ian will turn to more in future work.Read more ›
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Is "Benefit" going to be issued as a Deluxe edition?
I did a search on Steven Wilson and Jethro Tull. There are message boards that claim that Benefit & A Passion Play have received the deluxe treatment and are currently wading through red tape before they will be released.
Jul 17, 2013 by The Lightning Bug |  See all 3 posts
Why do the same early 2000's Tull remastered CD's sound different from...
I have no direct experience with these CDs, BUT, DPVW's comments make me wonder, in the 10 years between purchases of these various CDs versions . . .
1. Was there a change of any stereo equipment, especially speakers?
2. Did the speaker/room/house location change?
3. Did hearing acuity... Read More
Jul 8, 2011 by Zeek the Geek |  See all 2 posts
Someone please help me re: the remastered Jethro Tull CDs Be the first to reply
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