Jethro Tull’s rise to rock superstardom in the 1970s was anything but ordinary. Their blend of folk, jazz, and progressive rock set them apart in an era dominated by heavy, hard-hitting bands. Yet somehow, they managed to do what so many of their British peers couldn’t—conquer the American mainstream.
By the mid-’70s, they weren’t just selling records; they were filling massive stadiums. A damp night at Shea Stadium in 1976 saw 50,000 fans braving the rain to see Ian Anderson and his band in action. Just weeks later, 80,000 people packed LA’s Memorial Coliseum, proving their superstar status wasn’t a fluke.
The US market was tough to crack, even for established UK acts. T.Rex, Slade, and even David Bowie struggled to make a dent. But Jethro Tull, with their eccentric stage presence and genre-defying sound, became an unstoppable force. Their success wasn’t just surprising—it was unprecedented.
Jethro Tull’s Strategic Domination
Indeed, it wasn’t a fluke—Jethro Tull’s success was built on smart strategy. Their music translated well across borders, and their stage presence wasn’t just a performance; it was a show. They knew how to make rock an over-the-top spectacle, blending humor with grandeur in a way that felt both ridiculous and intentional. But above all, they had a plan: repetition.
By the end of 1971, Jethro Tull had already toured the United States 11 times. This was no accident. Despite being a relatively young band, they were committed to making a mark in America, knowing that constant exposure was key to their success.
Their first US tour in 1969 was a gamble. With their debut album, This Was, about to hit American shelves, they supported Blood, Sweat & Tears at the iconic Fillmore East. The conditions were tough—long waits and cheap hotels—but they were determined, and it was Bill Graham, the legendary promoter, who helped them get started.
Early Struggles and Evolution
In the early days, Jethro Tull often found themselves playing small venues like Boston’s Tea Party and the Stone Balloon in New Haven, sometimes performing for fewer than 30 people. But even in these low-key settings, they were working hard and using their downtime wisely. At the Stone Balloon, Ian Anderson wrote a new song that would prove to be a turning point.
During a stay at a Holiday Inn, their manager, Terry Ellis, asked Anderson to come up with a hit single. The result was Living In The Past, a track that quickly soared into the top three in the UK when released in April 1969. It was a major win for the band back home.
However, the situation in the US was different. Reprise, their American label, hesitated to release the song, deeming it too complex for American audiences. Anderson remembered how the label believed the song’s 5/4 time signature would confuse listeners. In hindsight, he felt grateful for the delay—it gave Tull time to develop further.
Gradually Building a Fanbase in the US
Jethro Tull’s gradual approach to building a fanbase in the U.S. was key to their success. While their debut album, This Was, made an immediate impact in the UK, it barely made a splash on the American charts. By the time Stand Up was released in September 1969, Tull had already been touring the States alongside bands like Led Zeppelin and Creedence Clearwater Revival.
Stand Up quickly reached number one in the UK, and Tull’s reputation began to grow internationally. Even Elvis Presley took notice, inviting the band backstage after one of his shows in Las Vegas. However, after witnessing Presley’s slurred performance, Anderson politely declined the offer, thinking it wasn’t the right moment to meet the King.
As their live shows improved, Stand Up helped the band gain more confidence. Anderson saw it as an opportunity to expand their presence beyond the major U.S. cities. His business mindset was clear, treating their growth like a strategic move—more akin to a corporate strategy than just a musician’s journey.
Finally, a Breakthrough in America
Jethro Tull’s Benefit album marked a turning point for the band. It was their first record to hit the Billboard Top 20, and soon they were headlining major venues like Fillmore West and the Civic Auditorium in Santa Monica. Released in May 1970, Benefit resonated with American fans, helping Tull reach an early peak with a sold-out show at the Long Beach Arena, drawing in around 15,000 people.
By the end of 1970, Benefit was certified gold in the U.S. Tull’s distinct appeal was clear. Ian Anderson, with his eccentric stage presence, became the embodiment of British rock oddities—flailing arms, wild hair, and a hobo coat. His persona captivated American audiences, making him an unforgettable character in rock history.
The band’s visual energy didn’t go unnoticed. Critics like The Detroit Free Press and The New York Times hailed Anderson as a stage-stealer, comparing him to other greats like The Who for his theatrics. Creem magazine even declared that Jethro Tull took live rock theatre further than anyone before them, all without relying on props.
Jethro Tull’s Steady Climb to Stardom
In a 1970 interview with Circus magazine, Ian Anderson reflected on Jethro Tull’s rise to fame. He described the band’s popularity as a steady climb rather than a sudden explosion. Unlike bands like Led Zeppelin, Tull didn’t take America by storm but instead grew their fanbase gradually, which Anderson found to be a more satisfying experience.
By 1971, Tull’s ascent was accelerating. Aqualung, released that year, became both an artistic and commercial success. Anderson’s exploration of themes like religion and humanity resonated with fans, and the album struck the perfect balance between acoustic melodies and powerful rock anthems. It eventually sold over seven million copies worldwide and secured a spot in the U.S. Billboard top ten.
Despite its success, Aqualung faced backlash, particularly in the more conservative Southern U.S. Anderson recalled that some ultra-conservative Baptists reacted strongly, even burning the album. However, the controversy was short-lived, and Tull’s reputation continued to soar.
Continued Rise and Domination
Jethro Tull’s growing popularity was undeniable in the early ’70s. In October 1971, the band sold out Madison Square Garden three weeks in advance, performing before 23,000 fans. Their U.S. success was further solidified the following summer with Thick As A Brick, a satirical concept album that went straight to number one in America—surpassing its performance in the UK, where it peaked at No. 5.
Anderson reflected on the album’s success in the U.S., noting that its arrival coincided with the rise of Monty Python and Saturday Night Live, which helped it resonate with American audiences. The album’s success made Thick As A Brick one of Jethro Tull’s biggest-selling albums in America, further cementing their place in rock history.
The band’s U.S. success was further boosted in 1972 with the release of Living In The Past, a double-LP compilation featuring a live show from Carnegie Hall. Chrysalis, now overseeing Tull’s U.S. affairs, released the title track as a single, and by January 1973, it had become their first Top 20 hit in the States.
Success Amid Declining U.K. Popularity
As the ’70s progressed, Tull’s popularity in the UK began to wane, while the U.S. audience remained steady. Anderson remarked that while they were no longer talked about as much in their home country, they still did well in America, where their fanbase had grown consistently. “We were too fast coming up in England,” he explained, reflecting on their earlier success.
Despite mixed reviews for A Passion Play, the band’s second consecutive chart-topper in the U.S., Anderson’s response came with Only Solitaire in 1974. War Child featured a hit with Bungle In The Jungle, which helped the album perform well in the U.S. while it faltered in the UK. Tull’s American dominance was clear, even as their presence in Britain faded.
By 1975, Minstrel In The Gallery followed a similar pattern, going gold in the U.S. but failing to make waves in the UK. Tull sold out multiple nights at the Los Angeles Forum, and Anderson’s commanding presence onstage could make entire crowds erupt. The band’s shows were further enhanced by the introduction of Tull-A-Vision, a cutting-edge visual experience, ensuring the live gigs stayed unforgettable.
Bold Moves in the Late ’70s
The idea for Too Old to Rock ‘n’ Roll: Too Young to Die! came to Anderson during a turbulent flight between gigs in the U.S. He was convinced the plane would crash, and the phrase “I’m too old to rock and roll, but I’m too young to die” came to him. The concept album about an aging rock rebel mirrored Tull’s own stubbornness in refusing to follow trends.
In a surprising shift, Songs From The Wood arrived in 1977, a bucolic celebration of British folk mythology. Released at a time when punk, disco, and AOR dominated, it was an unexpected success. The album’s success in both the U.S. and the U.K. was undeniable, quickly going gold in America and landing Tull back in the Billboard top ten.
1978’s Heavy Horses followed a similar pattern, though it seemed unlikely to succeed in the U.S. The album, dedicated to British working ponies and horses, was a tribute to tradition and a critique of consumerism. Despite its niche theme, Heavy Horses continued Tull’s success story, particularly in the U.S. where it resonated with audiences.
Triumphs and Setbacks in the Late ’70s
Despite the shift in musical trends, the U.S. continued to embrace Jethro Tull. Their international success was undeniable, and in October 1979, the band performed a sell-out show at Madison Square Garden. The event was broadcast live via satellite on the BBC’s Old Grey Whistle Test, making Tull the first band to be featured on a live, simultaneous TV broadcast from America.
Throughout 1979, Tull continued to fill arenas, with a standout performance at a UNICEF benefit in Santa Monica’s Civic Auditorium. The event, broadcast live on KMET-FM, showcased the band’s latest album, Stormwatch. While the album was a commercial hit, it also marked the end of their remarkable streak of success since Stand Up.
However, Tull’s success was about to face internal turmoil. After the Stormwatch tour in early 1980, key members of the band, including drummer Barrie Barlow and pianist John Evan, quit. The most significant blow came with the tragic death of bassist John Glascock, who passed away from heart failure during the tour, leading to a major turning point for the band.
A Productive Yet Tense Era for Jethro Tull
By the early 1980s, Ian Anderson reflected on the band’s tumultuous journey. “The ‘70s were very productive for us in terms of people and musicians together,” he said. However, tensions within the band had begun to grow, and Anderson felt it was time to take a break. “It was just a sense of people heading in different directions,” he added, prompting him to pause the band’s activities and explore other creative avenues.
Though Jethro Tull would regroup and adapt to the changing musical landscape, they never quite recaptured the magic of their ’70s peak. They ventured into a more synth-heavy sound during the early ‘80s, and while their fortunes were revived by albums like 1987’s Crest Of A Knave, they no longer held the same place alongside rock giants like Led Zeppelin, Queen, and The Rolling Stones.
Anderson, ever humble, couldn’t quite pinpoint why Tull became such a massive success in the U.S. But he had a theory. “Americans liked it because we didn’t look like we cared too much,” he suggested. He believed British acts that tried too hard for approval often failed, while those who appeared indifferent, like Tull, left a lasting impression.