A LITTLE LIGHT MUSIC

CONSISTENCY PROBLEMS: A dazzling rounded helping of Jethro Tull, 17 songs long; in a nutshell, it may have some consistency problems. Where it is good, the renditions may be better than the originals, where it fails, it just comes down to being "forgettable", the good edges out the weaker areas oh so barely. It is like the good parts, reassure you of why one finds themself so enthusiastic about Tull. The lesser renditions, might remind one of why over the expansive career of Jethro Tull; of why there may be some dissapointment. so Let's organize this, now to the individual tracks. -------- I am sure, this album is overlooked; but for a rather diversified round selection of JT music, does well. This album represents A "live" release, done in the spirit of the unplugged series but still with some electric, hence, it is "light" vs. "unplugged." The opener, goes to the "This was" release with "Someday the sun won't shine for you", blues, eh, and this is a prog rock forum, for "blues" it is good enough in that vain, though if this is what I am looking for, why not go with the original bluesmakers out of Chicago. "Look into the sun" is a second blues number on this release as well. Still, they are nice to have here and the opening track at least is a very competent effort. The second track, "Living in the past", is all instrumental, I prefer the original, but this one does get good about 30 seconds in. "Pussy willow" is instrumental as well, coming before the finisher, "Locomotive Breath" which could be more faithful to the original and is indeed, a "wind up" but of the songs in between in the heart of the album, this CD fairs well. "One white duck" is even more tranquil than the version on "Minstrel" and right after that peaceful moment a sonic blast into the real early classics, with "A new day yesterday" and boy does it sparkle. Similar valiant efforts exist to with "Nursie" and "John Barelycorn"; the quintessential "Bouree" is present as well, a good rendition but not as sizzling as those mentioned. "A Christmas Song" is from a live performance in Caesarea, Israel. Hmmnn, as I listen to the words and with the recent "Passion" movie; it seems more poignant. Related to this topic, the locales for the recordings are from a vast array of places in Europe, even into Turkey and Greece, which seems a bit rare in the record industry. One other highlight of this record, is that there are 2 songs from the release, "Too Old to Rock and Roll", the title track and maybe on a rarer note, "From a dead beat to an old greaser". Now, I finding "Too Old to R N R" to be excellent rock, though not necessarily to the strict guises of prog rock, this gives this effort even more merit to me. In final analysis, very good in parts, forgettable in other places.

This live album is worth getting, even if you already have some live Tull. The versions are different, for the most part. Also, the overall feel is quieter, which is nice if you're in the mood for a lower level of intensity. True, the fact that tracks are culled from many venues on the tour makes for a slight continuity/consistency problem, but it's a minor quibble. A lot of good tracks here, and not too much overlap when compared to other live Tull albums. The sound is good, and so are the performances.

The 80s were a disappointing decade for Tull fans; most of the studio albums lacked the inspiration that made their 70s output so compelling, plus Anderson's voice dropped slightly in pitch following an operation and from Crest of a Knave onwards Tull often sounded unconfortably like Dire Straits. They were still an excellent live band, however, and the decision to do a semi unplugged tour of Europe in 1991 was inspired. This excellent live album was the result.

All phases of Tull's career are represented, although most of the songs are pre 1980. Rocks on the Road is the token number from their then current album, and is played pretty much straight. Under Wraps is given an acoustic makeover and shows that, despite his fascination with synthesisers, Anderson's writing skills hadn't completely deserted him in 1984, while Pussy Willow is is a good choice from their best 80s release Broadsword and the Beast. Elsewhere, John Barleycorn Must Die is Tull's reading of the English folk classic - well executed, though not a patch on Traffic's brilliant version, while A Christmas Song is a resurrection of one of my least favourite Tull songs with a slightly embarassing intro by Anderson. The remainder of the album is superb - the stripped down line up really shows the strengths of Anderson's songwriting, and the arrangements are imaginative. Martin Barre, Dave Pegg and Dave Mattacks all get a chance to shine here, with Pegg's bass playing being a particular revelation. Anderson blows some pretty mean blues harp on Someday the Sun Won't Shine For You, A New Day Yesterday and Look Into the Sun in addition to his usual flute embellishments, and he's in good voice throughout.

As well as being a strong live album (preferable in some ways to the occasionally overblown Bursting Out) this is also a good introdution to Tull for the newcomer. For established fans, the old favourites are rearranged and sound fresh, while one or two lesser items from the back catalogue come out surprisingly well. Recommended.

".now, how about a little light music."?

This 1992 JT live release is the other side of their live shows conceptions! ALPHA and OMEGA of Jethro Tull live recordings are represented, respectively, by Bursting Out and A Little Light Music. The first one shows a stronger and more extroverted aspect of this great band in their highest apex of maturity, while the last one is a calm, acoustic and in a more introvert temper.

The album is a sort of un-plugged all around the world, during that then tour from Greece to Turkey, from Israel to Germany, from Austria to Switzerland.it seems a representation of a opposites' overtaking through the music.

The then line-up, Ian and Martin apart, is composed by the bassist Dave Pegg and Dave Mattacks who, in addition to the drums playing, has a lot of fun with some keyboards!

Remarkable pieces are Under Wraps # 2, in a complete and fascinating instrumental playing, Too Old To Rock And Roll, in which Ian Anderson seems to sing: ".but he was too IAN to die!...", and the extended version of Nursie, with some nice electric stuff!

Ad postera the JT version of the classic John Barleycorn Must Die, surely not at the same level of that 1970 one by TRAFFIC, but an interesting example of this band's versatility.

I wandered through a field of dreams last night, as rummy tales of yore took root once more. It was a full feast, fit to burst the beast of burdened eating that a stationary mind must be. What else to make of "Nursie" and "Under Wraps" served on the same plate? I believe, might even be convinced on the point, that all bands should make an intimate live album like this when wit is waning and wisdom waxing. Here are the venerable graybeards, in Israel, in Germany, in Greece, on an archaeological expedition through the temples of Tull where wonderful rediscoveries await you. In what other setting could "Rocks On The Road" (the inspiration for our travelogue's title) and "Life Is A Long Song" coexist peacefully, logical bedfellows who rise and shine together in a warm and sympathetic setting. Sweet felicity!, to hear "Too Old To Rock And Roll" and "One White Duck" rolling after, was this disc made just for me? A Little Light Music is a long and loving look at a legendary journey through the years, from the early "Bouree" 'round presently to Catfish Rising. What's impressive is how Tull still fills out the old swashbuckler's suit, handling the dusty sword once more with care and charisma. Was "A New Day Yesterday" so long ago, did "Under Wraps" just come unwrapped so soon? A Little Light Music isn't concerned with the business of When; it answers Now. The whole body of Tull, from apple to zanzibar, is as vital today as twentysomething summers ago. Time passes, wine matures and temples crumble; Tull lives on.

For those of you who are familiar with Tull or has been Tull's lovers, having this album is a must. It's basically a live unplugged version recorded from the band's concerts at London, Dortmund, Franfurt, Mannheim, Munich, Berlin, Graz, Prague, Zurich, Athens, Ankara, Jerusalem, Caesarea in May 1992. It's a relax setting with great tracks from the band's previous albums. Only four musicians play here Ian Anderson, Martin Barre, Dave Pegg, and David Mattacks. Some tracks are modified for this show, eg. "Living In The Past" which is now performed in full instrumental with flute replacing vocal department after good bluesy opening track "Someday The Sun Won't Shine For You".

Some tracks that catch my attention in addition to the above are: "Too Old To Rock n Roll, Too Young To Die", "A New Day Yesterday", "John Barleycorn" (performed differently than the one by TRAFFIC), "This Is Not Love", "Bouree" and "Lcomotive Breath". This is alternate Tull's music excellently performed in acoustic settings. If you like the band on the heavy part (rocking ones) it might not suit you and you should not purchase this CD. But if you want to hear another version of what typically you have heard so far, this might serve good for you. For me, it's an excellent addition to any prog music collection. Keep on proggin' ..!

Peace on earth and mercy mild - GW

This one's perplexing and quite well surmised by the first reviewer. I say perplexing because in person it would rank among the best shows of Tull I've seen in 34 years of live Tull viewing, never missed a tour since 72, saw this one twice. LOVED having the Fairport rhythm section, although I'd never want to see Doane Perry replaced, Dave Mattacks was a perfect fit for this outing. Where I would primarily differ with the first reviewer is his opinion of Living in the Past which I believe apexed on this tour, profoundly beautiful, as have most versions of that track since they brought it in in around 84? This from someone who didn't care too much for the original recording of the song which I'd rate somewhere between ok and good. As IA once said it was too cute for concerts. Plus in all those years of seeing Tull shows had never seen them do anything from This Was with the exception of Song for Jeffrey, therefore the reading they did of Beggars Farm sent me over the proverbial moon.

Previous to this live album, the Tull had only released two of them : the excellent "Bursting Out" and the poor "Live at Hammersmith" (recorded in 1984 but released only in 1990). This one belongs rather to the second category. As the title mentions, we get some light, acoustic music here for most of the numbers (but not only).

Since I prefer the rocking Tull, it is no wonder that I do not really appreciate this effort. Track list is poor. Almost second to third class songs. Fortunately, there are some exceptions.

The good tracks IMO are "Living In The Past", "Bouree"(the best ones with great fluting), "Too Old...", and "Locomotive" although this is not the best live versions for it. Some nice flute moments as well in "Pussy Willow". We also get the superb "From a Dead Beat to an Old Greaser" one of the best number out of "Too Old..." But only six good tracks out of seventeen is a bit sub-par, right ?

I do not say that we always need to listen to the same songs in their live sets. No. But, their repertoire is so extended that they could have produced more interesting official live records than what they actually did. But as Ian mentiones on the booklet for "Bursting Out" : live albums have never been a Tull priority. This one confirms this.

What also annoys me (I noticed this already in their "Bursting Out" album), is that this effort is a collection of live songs from different concerts (one song, one venue - with the exception of Caesara in Israel from which four tracks are recorded). This leads to a desunited work.

As far as I am concerned the greatest live albums were taken during the same concert. They provide a better feeling and are more spontaneous. I'm referring for instance at "Live At Leeds Remastered Edition - The Who", "Rock'n'Roll Animal - Lou Reed", "Genesis Live", "Uriah Heep Live 73", "Keys to Ascension - Yes) and "Made In Japan" (Purple) even if this one is the result of a compilation of three concerts but recorded in three days with the same atmosphere.

Two stars.

A brilliant live document from Jethro Tull. More than brilliant. This one is my favourite, actually - better than legendary "Live: Bursting Out". Why?

Well, it seems that the majority of the fans dislike this live document - stating some inconsistency issues, atypical sound (for Tull) or lack of the raw, rocking energy. Every track was recorded on the other place.

So what?

This one represents calm, moody, introspective, almost acoustic side of Jethro Tull. Musicianship is perfect (Dave's bass playing deserves closer attention), and the record is filled with emotions - this one is showing Anderson's singer/songwriter side.

There are only two weaker tracks on the record (weaker, but not bead by no means): "Too Old To Rock and Roll, Too Young To Die" is boring as usual, and "This is Not Love" with its heavy metal riff seems little bit out of the place. But everything else is just perfect, and I'm not exaggerating.

As I said, this is very introspective LP; try to imagine the best of the squeezed out moments from the "Too Old to Rock 'n' Roll, Too Young to Die" and "Crest Of a Knave" albums (two albums which are not bad, but they are not par excellance neither), and now try to imagine that squeezed emotions wrapped into a gorgeous, calm, acoustic set, with occasional bursts of electric guitar and lovely keyboard pads. Not to worry, it rocks, too.

I'm glad that band decided to include not the most common numbers for their live catalogue - and even in the case of the best known songs - they performed them in a very unique way: flute replaced piano in "Locomotive Breath" intro, "A New Day Yesterday" includes excerpt from "Kelpie", and "Bourée" is simply astonishing, utilising a part of another Bach's piece.

All the songs are providing a pure joy for a listener's ears, but I will only underline two highlights: incredible version of "Nursie", and sad and mournful "From A Dead Beat To An Old Greaser".

If you are looking fro a prog rock cliches and bravurosities, go search elsewhere. This is a calm and coherent statement of Anderson's maturity and genius; and it could be attractive to a wider rock audience too. A masterpiece, hands down.

(Marty, give 'em a 4.5!)

Remember when I said that Heavy Horses was the last truly essential Tull record? Oh, wait, I might not have said that...oh well, never mind. This is the last truly essential Tull record that I've heard to date. A Little Light Music, the album that nearly bankrupted me.

And the funny thing is, this album didn't necessarily have to work so well. In fact, it could very well have been just your standard live album, but everything seems to be working in Ian's (and, more importantly, MARTIN'S) favor.

We open with a great version of "Someday the Sun Won't Shine for You." Do you like the little opening bit with just Ian on harmonica and Martin on guitar? If you can make it through that, then this album really is for you. The rest of the band comes in, just bass and drums, and then it turns into a lively blues breakdown. This slides flawlessly into an overlong, but clever (not to mention brilliantly played) retooling of "Living in the Past" as an instrumental (look, I know that these were all recorded at different venues, but the flow is always appropriate, sometimes amazingly so).

"Life is a Long Song" ushers in the concept of bizarre, seemingly unrelated introductions to songs. Oh well; it's harmless here. This can't quite compete with the soaring orchestrals of the studio version, but Ian tries hard, with some beautiful flute lines in the middle.

"Under Wraps" is really "#2," and it's still gorgeous. It's instrumental, and the second half is led by a flute which is never overbearing; it takes on a strained quality which fits the song flawlessly. But the number that makes the record is really "Rocks on the Road." It's mostly by the book, with just the instrumental midsection altered so that keyboards can be replaced by bass and flute lines. But the jam at the end is replaced by a fascinating coda; instead of a guitar/flute duel, Martin wanks off for a while, then Ian wanks off for even longer, with some breathtaking, echoey riffage.

"Nursie" is good, with heartbreaking vocals. At first the reprise seems superfluous, but it grows on you. Besides, "Nursie?" Who woulda thunk it? "Too Old to Rock 'n Roll" has an...interesting "lounge jazz" introduction. Not bad, just...interesting. But then Ian comes in with the flute and it's all good. Ian later explains to us just why the intro was so frigged up (and, by the way, this is the best collection of Ian banter I've heard to date). This flows right into "One White Duck," which is given some tasteful keyboards and wisely cut short.

"A New Day Yesterday" is more harmonica driven until the instrumental midsection, where the beat speeds up and slows down, Martin pumps out some scary guitar, and Mr. Flute Crotch steps in with some whacky Irish licks. "John Barleycorn" is the old Traffic number, but it totally destroys the original. At least, in terms of bitch-ass kickery it does. The original was floaty and ethereal, with desperate vocals; this one is harder with spooky, goofy vocals. It's fun!

"Look Into the Sun" is reduced to Martin and Dave showing off their classical abilities; it's cool, but unrecognizable, except on the ends, and then even barely. "Christmas Song" plays just like you'd expect it to, except that it's introduced by maybe the best Ian banter of them all. "From a Deadbeat to an Old Greaser" is handled gently until the instrumental bit. I wonder if the electric was necessary.

"This is Not Love" is played fast, hard and loud. As it should be. And I still contend Dave is a better drumster than Doane. A real surprise is the "Bouree;" it should really be called the "Bach Jam" or something. It starts off normal enough, and then Martin takes over with his classical guitar, and then Ian regains control for a minute, each time playing some different bit of baroque music. Then it all returns to "normal." The definitive ba-rock number.

"Pussy Willow" is another gentle instrumental, with a nice little intro, and some surprsingly solid soloing from Barre at the end (considering the softness of the number). The album closer, a trusty ole overlong "Locomotive Breath" rendition; the intro done totally without keyboards, which gives it a sort of smarmy air. I don't know why. But it's still great. Barre's buzzy chords sound more like a train than ever, and his metallic interplay is fantastic, and the whole thing chugs along until it hits it grinding halt. Fantastic. Cool flute too.

Now, some of the strengths of this record should be obvious. For one thing, it's remarkably eclectic; I can't think of a single period of Tuller history/stylistics that isn't represented on this record: acoustic, blues, hard and art rock are all in place (you have to squeeze the folk period in under "Pussy Willow" and "Christmas Song," but still, there's "John Barleycorn"), and even the electrono period is touched upon. I'm happiest with the heavy met-Tull period myself, since Ian only draws on Catfish Rising. Plus, there's only one number from Aqualung! Huh? That's gotta get some sympathy points.

Also, the lineup is reduced. Meaning no real keyboards to speak of. What keyboarding is done is handled tastefully by Dave Mattacks, as is the drumming. His approach is much subtler than Doane "Bang the Drum Slowly" Perry, sometimes showing some jazzy influences (like on that great "Rocks on the Road" coda, where the emphasis on cymbal tapping occasionally gives way to bursts of syncopated energy).

David Pegg gives us all his usual tricks, but you know what? None of it ticks me off. Not even the poppin' bass sounds. He even redoes the bass bits of "Bouree" to good effect. He had been warned, I reckon...

But my men are still Ian and Martin. Ian plays like he could not play in 78'. All those little flute noises and trills and tremolos and God-knows-what else? Amazing. Ian is one of those rare cases of classic rockers who only gets better over time, rather than settles into a groove (another case being my old "pal" David Gilmour. There. I said something nice about Dave).

And Marty? I sensed something was different on Catfish, but it is here that he proves that he can really play the heavy metal guitar effectively if he wants to. The blues is all fantastic too. And his classical playing? Even more impressive than it ever was. Although occasionally these genres get the better of him; like "Look Into the Sun," where style almost totally conquers substance, or "Nursie" and "Deadbeat," where ballad veers dangerously close to POWER ballad.

Now, non-diehards might want to detract half a point. Some things frustrate even me: like, if this is a live show, how can they play all those two guitars, mandolin bass AND drums? And who's playing that damn tambourine all the time?!? I smell some extra effects or overdubs or something... And, you still have to deal with Ian's new voice. Well, that actually doesn't bother me so much. Since he mostly sticks to some of the more beautiful and balladeering songs, and the occasionally blooz, his tone works fine in a world weary sorta way.

So, it might not seem it at first listen, but give this album time and it can become just as enjoyable as Bursting Out. Of course, Bursting will still always be the quintessential live Tull album (it is a much better representation of a full live Tull show, and the closet to "classic Tull" I've heard to date), but Little Light Music can win you over in other ways. Like, did I mention the Ian banter? To date, it's the best I've heard. To date. Wait, I already said that...

A DIFFERENT- AND EXCELLENT-LIVE ALBUM

A LITTLE LIGHT MUSIC is a wonderful JETHRO TULL live album; This is not BURSTING OUT part 2!!! and i am glad for that. JETHRO TULL could have taken the easy road and do another ''greatest hits'' live with the same old classics, except the unavoidable LOCOMOTIVE BREATH at the end of this set. But one out of 17 songs, this is not bad. JETHRO TULL are not the ROLLING STONES repackaging the old hits over and over ad nauseam.

As the title indicates, we are not here for heavy metal/hard rock played in a arena. On the contrary, this is more like a intimate meeting between old friends with IAN ANDERSON as the master of ceremony cracking some jokes between songs. The sound is stripped down to a minimun with no keyboards or synths at all. Just bass, drums, electric and acoustic guitar and of course the trademark of the band, the flute, not forgetting a harmonica!!

MARTIN BARRE plays all in finesse except on some rocking tracks like THIS IS NOT LOVE from their-then current- CD CATFISH RISING.From this album, you get also a great rendition of one of its great track ROCKS ON THE ROAD, but thanks ,there are no DIRE STRAITS influences to be heard here.

The great thing about A LITTLE LIGHT MUSIC is that it gives the listener the chance to hear live little forgotten gems from the past which are not part of any best-of compilations such as the wonderfuly sweet FROM A DEAD MAN TO AN OLD GREASER from the TOO OLD TO RnR album or the deliciously acoustic guitar- led NURSIE. Other goodies include LIFE IS ALONG SONG or the bluesy 1968 track from TIME WAS, SOMEDAY THE SUN WON'T SHINE FOR YOU!

A few notable surprises spice this album such as the presence of an acoustic instrumental version of UNDER WRAPS#2 (the only good track from this bad album) and an acoustic rendition of TOTRNR-TYTD title track stripped of all its PALMER lush arrangements from the original album. Also present is a cover of the old traditional folkloric tune JOHN BARELYCORN although not as good as the version already covered in the past by TRAFFIC,but still very decent.

This is mostly an acoustic album to enjoy peacefully, except for the occasional heavy BARRE riff like on the great A NEW DAY YESTERDAY. The voice of IAN ANDERSON curiously sounds better live than on the studio recordings of the time as it can be noticed on ROCK ISLAND where the live bonus tracks vocal renditions were much better than in studio as well. You will find a lot of great flute passages all over the album like once again on A NEW DAY YESTERDAY and great energy from the leader. You can feel IAN ANDERSON is having fun playing and singing all these songs and it shows.

The other good thing about this CD is that almost every period of JT is covered from TIME WAS to CATFISH RISING; so A LITTLE LIGHT MUSIC can be considered as a nice overview of their carreer; at least it shows their more mellow side with a lot of acoustic and simplicity in their music.

This album is like meeting an old friend, having good time with him sharing and remembering old stories all in total simplicity.A must- have for any JETHRO TULL lover.

4 STARS.

This was where Ian Anderson and Jethro Tull truly started toning down the music. And it was a good thing. Watching Anderson struggle to sing some of the harder rocking tunes at that time was getting painful to watch. And if he had kept it up, he might not have had the voice that allows the band to continue to this day 18 years later (and he talks about how old they are on this album, what about now?)

The album contains toned down versions of songs from throughout the band's history, few of them obvious. The only times the band gets any heaviness at all are on New Day yesterday, This Is Not Love, and Locomotive Breath, all of which are not as heavy as the originals.

The rest of the album has nice blues, jazz, folk, even some classical, sometime mixed together. And all of it works well.

Some standout tracks are the instumental Living In The Past, John Barleycorn and an amazing version of Bouree. And without a keyboard player, Anderson, Barre and Dave Pegg share the inroduction to Locomotive Breath.

4.5 stars. And a highlight of my collection.

Jethro Tull's 1992 live album A Little Light Music finds the band later into their career than their more famous live album Bursting Out. It may not be the most famous of Tull releases but is worth checking out for existing fans who want something they haven't heard a hundred times before as the band are largely playing quieter tracks with the selection of songs taken from various locations around the world as opposed to from a single complete concert.

This album does feature a few exceptions to the lighter/quieter formula however, such as 'Rocks On The Road,' and 'Locomotive Breath,' (albeit with reduced speed and distortion) but overall the release is not about big riffs, unbridled energy and rock fury but rather laid back entertainment, hence the album title.

The tracks can have a very different feel than their original studio versions, with many more instrumental sections and solos, in some cases extending their overall length by minutes such as the completely instrumental but utterly enjoyable rendition of 'Living In The Past,' which is basically a five minute flute solo or the very different version of 'A New Day Yesterday,' which takes the fan-favourite song in a few unexpected directions.

In addition to most of the songs having a different feel, the track listing includes a lot of tracks that wouldn't just be on every Tull live album or hits-compilation, adding some extra level of interest to fans. Tracks like 'From A Deadbeat To An Old Greaser,' 'One White Duck,' 'This Is Not Love,' 'Nursie,' and 'Under Wraps,' aren't going to be on many other releases and that gives the record a little uniqueness at least.

Overall, This is not really the first Jethro Tull album you should buy, not even the first Jethro Tull Live Album that you should buy (the aforementioned arguably Bursting Out holds that honour) but there is certainly a lot of worth on the record and it is something that Tull fans will find enjoyable, even the fact that the tracks aren't from one single concert doesn't detract from the album's quality, balanced and smoothly flowing as it is.

Too Old To Rock 'n' Roll, To Young To Die!

Following what was in my opinion their weakest studio album ever in 1991's Catfish Rising, Jethro Tull gave us this semi-acoustic live album. The set list draws primarily from two sources: the very earliest days of the band's career (pre-Aqualung) and the most recent at the time (mid-80's to the early 90's). These are easily the two least interesting and least progressive periods of the band's entire career! Even out of the few numbers they did select from the 70's albums, several are among the weakest ones from that otherwise strong era. No less than two songs from the average Too Old To Rock 'n' Roll, To Young To Die album are featured while most of the other 70's albums are completely overlooked. From A Dead Beat To An Old Greaser is not even among the better songs from that album. A Little Light Music can thus rightly be said to be the complete antithesis of the band's first official live album Bursting Out. The latter gathered together most of the very best songs from the band's very best era, while the present album gathers together some of the least good songs from the least periods of the band's career!

What we have here is semi-acoustic Blues Rock and Folk Rock with everything that might be considered progressive having been surgically removed. The tracks were recorded in a number of different places and there are annoying fades at the end of many tracks. Among the more interesting numbers we find an acoustic version of Under Wraps, which obviously is very different from the electronic original version, and Tull's own version of the Folk-standard John Barleycorn.

In addition to being a bit on the light side when it comes to the music itself, A Little Light Music also sports one the ugliest sleeve pictures I have ever seen. Strictly for fans and collectors this one.