Oil Well Bootlegs - RSC CD: Jethro Tull - Fat Man

Jethro Tull - Fat Man
Oil Well RSC CD 059

1 So Much Trouble 3:14
2 A Song For Jeffrey 3:14
3 My Sunday Feeling 3:48
4 Beggars Farm 3:16
5 Love Story 2:52
6 Stormy Monday 4:12
7 Dharma For One 3:59
8 Living In The Past 3:02
9 A New Day Yesterday 4:06
10 Fat Man 2:15
11 Nothing Is Easy 5:01
12 Bourée 3:55
13 Witches Promise 3:16
14 Nothing Is Easy 14:17
15 For A Thousand Mothers 4:52
16 Back To The Family 3:34
17 Sweet Dream 3:00
18 Instrumental 1968 2:04
74:17 min.

Note:
All songs by Jethro Tull
~~Live in Portland, MA - July 2nd, 1968.~~

Tracks: 1,2,3: BBC Top Gear Session, 23rd July 1968
Tracks: 4,5,6: BBC Top Gear, November 5th, 1968
Tracks: 8,9,10 BBC Top Gear, June 22nd, 1969
Tracks: 11,12, 13 BBC Top of the Pops 1969
Tracks: 14-15-16 Newport Pop Festival, Davonshire Downs, California, June 21st, 1969
Tracks: 17-18 BBC Radio 1968. "One For John Gee" is listed as "Instrumental 1968"

Lineup:
Bass – Glenn Cornick
Drums – Clive Bunker
Guitar – Martin Barre (tracks: 7 to 16), Mick Abrahams (tracks: 1 to 6, 17, 18)
Vocals, Flute, Harmonica – Ian Anderson

This album is a digital clone of: "A New Day Yesterday" - Gold Standard – Italy 1994
Back cover erroneously states that it was recorded in Portland, MA July 2nd, 1968.
Jethro Tull didn't play in the US in 1968 at all. Instead it is a mix of recordings from several sources in particular from BBC Sessions recorded between 1968 and 1969; and Newport Pop Festival from 21st June 1969. Please note that this CD is one of the most rare from this italian bootleg label!

Audio quality:

Quality content:

© Official released material:
Tracks 1,2,3,4,5,6,7 have been officially released on: "This Was 50th Anniversary Edition" (2018),
Tracks 9,10,11,12,17 have been released officially on:"Stand Up Disc 1 - The Elevated Edition"
Track 13 has been released officially on: "Benefit - Deluxe edition"
Track 18 has been released officially on "20 Years Of Jethro Tull: The Definitive Collection (CD 1)",
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Jethro Tull This Was Review
The pace at which the music scene was changing in 1968 was, even when viewed from the luxurious hindsight of 40 years, a breath-taking explosion of creative intent that was as unpredictable as it was exciting. As the Summer of Love's psychedelic foppery gave way to something altogether harder and darker in both style and content, out of the ashes of the John Evan band, Jethro Tull emerged with their dead men's coats to heavy-up their act with a bite of blues rock and a precocious twist of jazz.

In this respect they were like many of the bands with whom they shared the bill all over the UK and abroad. However, what made Tull stand out from the great-coated crowd was the high-visibility of frontman Ian Anderson's on-stage Tourette's-inspired hyper-gurning and Mick Abraham's ferocious fretwork.

It's easy to forget that in its earliest incarnation Tull was not yet then Anderson's personal fiefdom, with Abrahams exercising just as much influence as his flute-playing pal. This is especially apparent on Disc One's BBC radio sessions where his blues roots are at their most pronounced. His playing throughout the record is superb though is heard to best effect on the rocking Dharma For One, and the Clapton-influenced Cat’s Squirrel. It's no surprise that when the split with Anderson forced him into a solo career with Blodwyn Pig that their debut (Ahead Rings Out) rivalled the top ten sales of Tull's 1969 follow-up, Stand Up. Anderson's presence though is of course undeniable and extensive. Though his vocals are often delivered in an idiosyncratic pastiche of a grizzled blues veteran (especially on A Song For Jeffrey), the phrasing of his nimble flute adds a busy, waspish internal commentary within the songs. Sometimes however their reach exceeds their grasp. The cover of Roland Kirk's Serenade To A Cuckoo is a kind of bluffer's jazz that would give them a momentary exotic shift of gear in a live set dominated by their tumbling rock. It's a rather stilted execution here although one can't help but admire their chutzpah in attempting it.

As well the original mono version and some radio sessions, this anniversary edition is expanded to take a new stereo mix, and contemporary single A-sides (including their first single. Sunshine Day, for the MGM label where they were erroneously called Jethro Toe) and B-sides on Disc Two. Having already been given a remastering back in 2003, the new mix yields little surprises although a bit of 21st Century digital space allows a wider aural view of tracks such as Beggar's Farm, You’re Breaking Me Up, and Mick Abraham's wistful Move On Alone.

Embracing the broader vocabularies of progressive and folk styles was a brave move considering the Top Ten success of this sophomore release. By the time it came out they'd already moved on. ''This is how we played then – but things change'' Anderson wrote on the original liner notes in '68. Far-sighted words as it turned out. An overlooked but essential piece of Tull.

The Newport 69 Pop Festival, June 20-22, 1969
Attended by 150,000 fans, it was the largest pop concert up to that time and is considered the more famous of the two Newport Pop Festivals, possibly because of the appearance of the Jimi Hendrix Experience, which got top billing at the venue. Devonshire Downs was a racetrack at that time but now is part of the North Campus for California State University at NorthridgeThe Newport Pop Festival was originally billed as "Newport 69," and was held over the three-day weekend of June 20-22, 1969 in Northridge, California at Devonshire Downs. In published writings over the last 40 years, this latter event has been referred to as the "Newport 69 Pop Festival," the "Newport Pop Festival 1969" and simply the "Newport Pop Festival." Subsequently, much confusion has been created over the years between the 1968 and 1969 events. Some of this confusion was generated by the participating musicians themselves who, later, in their interviews, kept getting the two events mixed up.

Though the latter event was organized by a different set of concert promoters and had no connection what so ever to Newport Beach, it is believed that the 1969 Festival was intended to be the spiritual successor to the Orange County event, hoping to capitalize on the brand name and market momentum generated by the 1968 festival. Unfortunately, this move of venue was necessary because the 1968 event had fallen in disfavor with the local community leaders. Three days after the 1968 event, the Costa Mesa City Council vowed to prevent a Newport Pop Festival encore. "To say that we would not like it back here would be the understatement of the year," Costa Mesa Mayor Alvin Pinkley was quoted as saying.

Friday, June 20, 1969: Albert King, Edwin Hawkins Singers, The Jimi Hendrix Experience, Joe Cocker, Southwind, Spirit and Taj Mahal.
Saturday, June 21, 1969: Albert Collins, Brenton Wood, Buffy Ste. Marie, Charity, Creedence Clearwater Revival, Eric Burdon, Friends of Distinction, Jethro Tull, Lee Michaels, Love, Steppenwolf and Sweetwater.
Sunday, June 22, 1969: Booker T & the MGs, Chambers Brothers, Flock, Grass Roots, Johnny Winter, Marvin Gaye, Mother Earth, Jimi Hendrix, Buddy Miles, Mother Earth, Eric Burdon (jam), Poco (formerly Pogo), The Byrds, The Rascals and Three Dog Night .