Jethro Tull - War Child - MFSL (UDCD-745) [Reupload]

Mobile Fidelity Sound Lab (MFSL, or "MoFi") is a company that produces audiophile releases of classic CDs and vinyl records.

Many commercial CDs undergo dynamic range compression in order to sound "louder" when played on radio or low-end systems. Some consider this detrimental to the sound quality when reproduced on high-quality equipment. Mobile Fidelity Sound Lab releases are highly desirable due to their attention to detail concerning the audio mastering process. Some of the techniques used are half-speed mastering and pressing gold-plated CDs. MFSL also releases record albums meant to be played at 45 RPM instead of the standard 33? RPM, for better sound quality. These albums must be released on two or three discs, as less music can be held at increased speed.

MFSL only acquires the license to reproduce releases for a specific time period, and because of the limited quantities produced, they are highly sought after.


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Jethro Tull was a unique phenomenon in popular music history. Their mix of hard rock; folk melodies; blues licks; surreal, impossibly dense lyrics; and overall profundity defied easy analysis, but that didn't dissuade fans from giving them 11 gold and five platinum albums. At the same time, critics rarely took them seriously, and they were off the cutting edge of popular music since the end of the 1970s. But no record store in the country would want to be without multiple copies of each of their most popular albums (Benefit, Aqualung, Thick as a Brick, Living in the Past), or their various best-of compilations, and few would knowingly ignore their newest releases. Of their contemporaries, only Yes could claim a similar degree of success, and Yes endured several major shifts in sound and membership in reaching the 1990s, while Tull remained remarkably stable over the same period. As co-founded and led by wildman-flautist-guitarist-singer-songwriter Ian Anderson, the group carved a place all its own in popular music.

Tull had its roots in the British blues boom of the late '60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond's club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the "s" in his name at Hammond's suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart, when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor's Engine.

In December of 1967, the four of them agreed to form a new group. They began playing two shows a week, trying out different names, including Navy Blue and Bag of Blues. One of the names that they used, Jethro Tull, borrowed from an 18th-century farmer/inventor, proved popular and memorable, and it stuck. In January of 1968, they cut a rather derivative pop-folk single called "Sunshine Day," released by MGM Records (under the misprinted name Jethro Toe) the following month. The single went nowhere, but the group managed to land a residency at the Marquee Club in London, where they became very popular.

In late 1976, a Christmas EP entitled Ring Out Solstice Bells got to number 28. This song later turned up on their next album, Songs From the Wood, the group's most artistically unified and successful album in some time (and the first not derived from an unfinished film or play since A Passion Play). This was Tull's folk album, reflecting Anderson's passion for English folk songs. Its release also accompanied the band's first British tour in nearly three years. In May of 1977, David Palmer joined Tull as an official member, playing keyboards on-stage to augment the richness of the group's concert sound.


Another malcontented masterpiece, this time saving some of the choicest vitriol for war. War Child marked a return to individual songs over side-long suites, making it a more accessible album than A Passion Play. The tortuously tight arrangements featured here will hold much attraction for fans of Gentle Giant: violins, accordions, electric guitar are only some of the unique sounds stirred together in this great stew. In fact, this might be the most musically ambitious of the Tull albums, swelling the band’s sound to a small orchestra by expanding the arsenal of individual musicians and presenting David Palmer’s orchestrations right in the middle of the mix as a sixth player. Although the record flows well enough, the back cover is a better indication of what lies within: a wide cast of characters with little in common on the surface. One moment, Anderson is steeped in metaphors ("Bungle in the Jungle"), the next he’s stepped out of character to address his critics ("Only Solitaire"). The metaphor arbitrarily changes on "Sealion" (life is now a circus, not a war or jungle), the time line slips from current day to Elizabethan era. With all this skipping around, no resolution comes on "The Third Hoorah" and "Two Fingers" the way it did on Too Old To Rock ‘n’ Roll’s final tracks. Of course, it’s not a certainty that Warchild is a concept album; while the songs have a shared musical sensibility and the themes are perceived to come from the same character, it’s something of an expansive and occasionally rambling criticism of life in general (a charge levelled against Tull’s earlier albums as well). War Child’s achievement is in its music: some of the richest in recent memory, the arrangements are consistently stunning in their execution, courting excess but impossibly balanced by admirable dexterity. Also, I’d be remiss if I didn’t mention that "Skating On The Thin Ice of The New Day" is one of my favorite songs (a musical epiphany, if you will).

On this CDs:

01. War Child
02. Queen And Country
03. Ladies
04. Back-Door Angels
05. SeaLion
06. Skating Away On The Thin Ice Of The New Day
07. Bungle In The Jungle
08. Only Solitaire
09. The Third Hoorah
10. Two Fingers

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