Increasingly Overblown, Increasingly Pretentious... But Still Great
Written: May 04 '08
Product Rating:
Pros: Wonderful production and a number of excellent songs; great bonus tracks.
Cons: The emphasis on experimentation sees hooks taking a back-seat.
The Bottom Line: An intriguing (if not always successful) look into Jethro Tull's musical development, "Benefit" is a strong third album that deserves more exposure.
floatingcity's Full Review: Benefit [Bonus Tracks] [Remaster] by Jethro Tull
Often regarded as a tricky transitional album, Jethro Tull’s third studio release “Benefit” has suffered the indignity of being sandwiched between three of the band’s most enduring and successful records; frequently getting ignored or dismissed in the process. While lacking the hard rock drive of the preceding “Stand Up” or the progressive complexities of forthcoming classics “Aqualung” and “Thick as a Brick”, “Benefit” is still a worthy album in its own right, and shows the group making tentative steps towards defining its long-term style and world-view. For a refreshing change, it’s also one of the few Jethro Tull albums not to feature a big line-up alteration, retaining the “Stand Up” players with the notable addition of John Evan; whose stellar piano and synthesiser work goes a long way towards defining its gloomier sound.
That said, “Benefit” isn’t really the kind of record that stands out upon first listen – in fact, its initial impression is mostly ambivalent. Although vocalist, flautist and songwriter Ian Anderson is pushing himself harder than ever before, his reliance on atmospherics, moody flute/guitar passages and single melodic ideas repeated multiple times lends the album a monotonous sheen; wrapping your eardrums in a kind of mesh that prevents any specific track from standing out. However, this conscious step towards ‘artistry’ also means that the arrangements have become lusciously thick, and Ian’s (rapidly improving) production skills make even the dullest moments shine with a gorgeous clarity. Typically, the hallmark of good production is that you don’t notice it, but “Benefit”’s sound quality truly stands out when compared to the dry scratchiness of the two records that bookend it. (I can only imagine how amazing the already great “Aqualung” would be if Ian had been able to persist in this style, but a change in recording studio would remove the opportunity for such multi-tracked prettiness).
Anyway, there’s plenty to like here beyond the presentation – after all, production is a lot like plastic surgery, and all the extraneous bells and whistles mean nothing if there isn’t a pre-existing, solid foundation to build on. Despite the glaring lack of tunefulness in several of these songs, a number do a fantastic job of creating enthralling jams that birth the band’s signature sound; rock, jazz and blues sitting around and grabbing a beer at the local Renaissance Faire. The best candidate would be the opener “With You There To Help Me”, which dives head-first into a bubbling, psychedelic array of Mellotron lines, alternating acoustic and electric guitar passages and distinctly Medieval vocals that fully justify its six-minute running time. “Nothing To Say” also comes close to greatness, taking a strong blues-based guitar riff and marrying it to a respectable vocal melody (though it could easily lose a minute or two in length).
Curiously enough, there are a few sneaky pop moments hiding here and there; though most come as a result of the album’s remaster and consequent bonus tracks. “Inside” sounds just like it came from the “Stand Up” sessions, with a much-welcomed optimistic feel, attractive flute puffing and a catchy vocal hook. The appended singles “Teacher” and “Witches’ Promise” are also excellent, showing a well-honed commercial instinct with their respective chugging rock and brooding orchestral explorations. The originally listed “Son” rounds off this category, being more generic in construction but employing an ear-catching transition from its gruff opening half to a soft bridge (and back again).
With the exception of the acid-tinged, proto-grunge offering “To Cry You A Song”, most of the album’s remaining material doesn’t really grab me; Ian opting for acoustic ballads that sound pleasant without really going anywhere. “For Michael Collins, Jeffrey and Me” is fortunate enough to feature some non-trivial chord changes and a Beatle-esque refrain, but “Alive and Well and Living In” and “A Time For Everything” are too musically apathetic to make the grade, especially compared to the warm, tuneful intimacy of the slow numbers on “Stand Up”. Still, they’re not offensive or annoying in any way, so there’s little to stop them from getting a half thumbs up (unlike “Play in Time”, which wastes a good guitar riff on a pile of squalling feedback and synth effects that prove completely cacophonous).
Nitpicking aside, “Benefit” is a sturdy, dependable Tull album that makes up for its infrequent writing flaws with excellent instrumentation and production values; and the overall wooziness is something that slowly grows on you with each new listen. I wouldn’t advise anyone new to Jethro Tull to start here, but it’s an interesting window into the band’s evolution, and a considerable acquisition for anyone fond of its more famous siblings. 4 stars.
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