Jethro Tull didn't start with a concept about a Victorian tramp or a 45-minute flute solo. In 1968, they were basically a bunch of guys in London trying to out-blues the competition. Jethro Tull This Was is that messy, transition-period debut that most casual fans completely skip over. Honestly, it’s a mistake to ignore it. It’s the only record where Ian Anderson wasn't the undisputed dictator of the band's sound. It’s a snapshot of a group that didn't know if they wanted to be Cream, Roland Kirk, or a folk ensemble.
The title itself, This Was, is kinda funny and a bit arrogant. They titled it that way because they already knew their sound was going to change immediately. They were looking back at their own beginning before they had even finished it.
The Power Struggle: Mick Abrahams vs. Ian Anderson
You’ve gotta understand the tension to appreciate the music. In 1968, Mick Abrahams was the "hero" of the band for a lot of fans. He was a proper blues guitarist. He wanted to keep things gritty, twelve-bar, and traditional. Ian Anderson, on the other hand, was this wild-eyed kid who had only been playing the flute for a few months. Ian wanted to go "sideways"—into jazz, into folk, into weird time signatures.
On Jethro Tull This Was, you can hear these two worlds colliding.
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- Move on Alone is a Mick Abrahams track through and through. It’s actually the only Tull song in history where Ian Anderson doesn't sing lead. It’s got horns, it’s got a soul-blues vibe, and it sounds nothing like "Aqualung."
- My Sunday Feeling kicks off the album with that classic Ian Anderson energy, but the flute is still competing with Abrahams' heavy blues riffs.
- Cat's Squirrel is a straight-up blues workout. It’s the kind of thing they played at the Marquee Club to keep the purists happy while Ian gesticulated like a madman on one leg.
The clash was fatal. Abrahams left shortly after the album dropped. He went on to form Blodwyn Pig, which was great but never reached the heights Tull eventually did. If Mick had stayed, Jethro Tull probably would have ended up as a footnote in the British Blues Boom instead of the prog-rock titans we know now.
A Low-Budget Masterpiece?
They recorded this thing for about £1,200. In today’s money, that’s basically nothing for a major label debut. They were working fast, often recording live in the studio to capture that club energy.
One of the weirdest bits of trivia involves an instrument called the "claghorn." It was this Frankenstein's monster of an instrument—part recorder, part toy trumpet, and part saxophone mouthpiece. Jeffrey Hammond (who wasn't even in the band yet but was a close friend) supposedly invented it. You can hear it on A Song for Jeffrey. It’s a distorted, reedy mess that somehow perfectly captures the psychedelic swamp-blues vibe they were aiming for.
The Jazz Influence
While everyone talks about the blues, the jazz elements on This Was are what actually pointed toward the future. Serenade to a Cuckoo is a cover of a Rahsaan Roland Kirk tune. This wasn't just a tribute; it was Ian Anderson’s manifesto. He wasn't playing the flute like a delicate orchestral musician. He was overblowing, humming into the mouthpiece, and treating the instrument like a lead guitar.
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- Dharma for One gave Clive Bunker space for a massive drum solo. It showed the band’s willingness to let every member flex their technical muscles.
- Beggar’s Farm mixed a dark, moody flute line with a heavy rock beat. It’s arguably the most "Tull" sounding song on the whole record.
- It’s Breaking Me Up proved they could do the slow-burn blues better than most of the bands who were actually trying to do it.
What Most People Get Wrong About This Record
The biggest misconception is that This Was is just a "bad version" of what came later. People look at the cover—the band dressed up as old men surrounded by dogs—and assume it's just a joke.
But there’s a rawness here that disappeared later. Once Ian Anderson took full control for the next album, Stand Up, the music became more polished and "composed." This Was is the only time Jethro Tull sounds like a collective of four guys in a room just playing. There’s a swing to Glenn Cornick’s bass playing that is genuinely groovy. Cornick was an incredible player who doesn't get enough credit; his lines on this album are busy, melodic, and much more jazz-influenced than what followed.
Why You Should Care in 2026
If you’re a fan of the 50th Anniversary remasters (the ones Steven Wilson did), you’ve probably heard how much better this album sounds now. The original mono mix was a bit of a muddy mess, but the modern stereo remixes reveal the actual textures.
You hear the wood of the flute. You hear the spit in the harmonica.
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Jethro Tull This Was represents a fork in the road for British rock. It was released in October 1968, right as the "Summer of Love" was curdling into something darker and more complex. It stands alongside Led Zeppelin’s debut and Black Sabbath’s early rehearsals as part of that transition from basic R&B into the heavy, experimental 70s.
Actionable Next Steps for the Curious Listener
If you want to actually "get" this album, don't just put it on in the background while you're doing dishes. It requires a specific approach.
- Listen to "A Song for Jeffrey" first. It’s the bridge between their blues roots and their weird future. Pay attention to the distorted vocals—Ian was trying to sound like a dusty old field recording.
- Compare "Cat's Squirrel" to the version by Cream. It’ll show you exactly where Jethro Tull sat in the London scene at the time. Tull’s version is much more frantic.
- Find the BBC Sessions. If you can get your hands on the 40th or 50th-anniversary editions, listen to the "Top Gear" sessions recorded for John Peel. The band sounds even more dangerous live than they do on the studio tracks.
- Check out Mick Abrahams’ "Ahead Rings Out" with Blodwyn Pig immediately after. It’s the "alternate timeline" version of Jethro Tull where the blues won.
Ultimately, this isn't the best Jethro Tull album. It’s not even in the top three for most fans. But it’s the most human one. It’s the sound of a band figuring out who they are in real-time, claghorns and all.