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Post by Quizz Kid on Apr 29, 2014 22:43:52 GMT
So, Steve tells us that APP amounts to about 5 mins of Critique Oblique we hear..........roll on May 25th just for that!
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Post by Quizz Kid on Apr 29, 2014 19:48:12 GMT
TOTRR is such a beautiful album as it is, but the strings really make that one come to life IMO.. Great choices all. I love it when a someone other than a Brit say that they like TOTRNR, I think it is a vastly under-rated album, very British and I think a lot of people give up on it for that reason, it's not quite the documentary of a "greaser's" life as mayeb Quadrophenia is of a Mod's life, but it's well worth getting into IMO.
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Post by Quizz Kid on Apr 29, 2014 19:44:01 GMT
From Steve Jeal at the Southampton Guildhall tonight. "Totally rocking the Guildhall" Copyright Steve Jeal Nice to see them using the full width projection, I hope they don't switch back to the 'portrait' look they had on TaaB2 it looked a little lost at some venues.
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Post by Quizz Kid on Apr 29, 2014 16:26:51 GMT
It would be nice if he called on his good buddy, Dee Palmer to do the arrangements, but it'll probably be John O'Hara (which is fine, too!) I agree it would be quite a score [if you excuse the pun]to see Dee working with Ian again, but if that's not to be I'm good with John O'Hara, he seems to respect the Tull back catalogue in his interpretations, and although I personally quite like 'the squeezy thing' [it's a long-term affection following on from Warchild] I could do with a break from it. So, if a solo/string quartet album was forthcoming any suggestions for a track listing? I'd have to go with Life's a long song and Summerday Sands
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Post by Quizz Kid on Apr 28, 2014 21:58:25 GMT
So Duncan, you don't want to know the setlist for the 2nd half? I'm hoping for some APP and something from TOTRNR possibly with new graphics
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Post by Quizz Kid on Apr 28, 2014 19:29:03 GMT
she certainly is
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Post by Quizz Kid on Apr 28, 2014 17:35:11 GMT
The photo may be creepier, I can assure you she isn't!
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Post by Quizz Kid on Apr 28, 2014 11:53:47 GMT
Thanks! This whole "Tull is dead" thing seems a little fishy, especially since neither Ian nor Martin have commented on it. Well, I think there's been enough speculation on the 'Death of Tull' borne out of the fairly regular comments made by Ian and Martin over recent years, where both have skirted around the issue and fueled a debate where in the end most fans suspect it is true and can live with it. I think most fans sadly accept it but would be appreciative of a definitive answer from Tull Management as regards the future or the demise of the Tull band [brand]name. Both Ian and Martin have said Tull is on ice, on a hiatus, on a long break, or is over, in some form or other for something approaching three years now. Given the path Ian has taken with his current band and his growing vocal distancing of not just Martin, but the whole history of Tull and other band member influences and involvement over the years, it would seem reasonable to me to assumme that Tull in the form most fans appreciate is no longer. Those that linger on the "This is Tull" no matter what anyone says [including Ian] are just seeking to provoke a argument that should have been simply stifled at birth. I think most sane fans appreciate that in forming his new band Ian effectively sought to strike a line through the name Jethro Tull. The confusion in my mind is created by Ian, and Ian alone. He has made it clear in his statements of late that he owns the copyright on the name, yet he says he feels that it rests with the original owner and he wants to distance himself from that. Seems a bit of having your cake and keeping it to yourself to me. You either want to lose it or you want to keep it. Unless of course it is good for sales and income, in which case good luck to him, he's earned the right to its use, and it's no doubt the reason why we see Jethro Tull's Ian Anderson emblazoned on marketing ad's and the like, and who can blame him [or Martin] in that case for doing that. If Ian wants to drop the name, and firmly believes that it's all the same cornflakes in a different box, then why not just go out as Ian Anderson playing the music of Ian Anderson. We all [well, most of us] know it's all about marketing and better for getting bums on seats or albums in homes but I am sure we [well, most of us]can deal with getting by without the name Jethro Tull as long as the music continues in some way.
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Post by Quizz Kid on Apr 28, 2014 11:18:09 GMT
It's supposedly been on the cards for sometime, Ian's mentioned it in a few interviews previously, but then again he's also mentioned an acoustic album with Martin but I'm not holding my breath for that one at this moment in time. So given the "Music for funerals and weddings" comment I suspect there may be some cheek tongueing going on, although he has done a few outings with string quartets, so who knows.
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Post by Quizz Kid on Apr 28, 2014 10:24:33 GMT
We like the same football team!
Hardly, we both like teams from North London, sworn enemies, one is dynamic, thrusting and focussed whilst the other is my team Spurs.
Welcome Lord Jioffe of Stoyne, you old skumbatag you. Glad you could make it.
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Post by Quizz Kid on Apr 27, 2014 0:27:51 GMT
Ian, thanks for the suggestion. The short and sweet answer is yes it can be provided, a few new sections will be cretaed in a memebers area very soon
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Post by Quizz Kid on Apr 26, 2014 16:59:59 GMT
Anyon e know any more about this?
From Jann Klose yesterday
Check out the trailer for this Australian feature documentary I'm in called A VENUE FOR THE END OF THE WORLD, featuring Dick Cavett, Ian Anderson (Jethro Tull), D. A. Pennebaker, Michael Shrieve (Carlos Santana), Country Joe McDonald, The Gregory Brothers, Paul Provenza... Directed by Aidan Prewett, coming out later this year! - Jann Klose.
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Post by Quizz Kid on Apr 25, 2014 17:38:36 GMT
If you've missed any of Ian's excellent shows you can catch up on the shows via links and more info at his progessive music blogsite at h ttp://zombywoofblog.wordpress.com/
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Post by Quizz Kid on Apr 25, 2014 17:29:07 GMT
Thanks Steve, a very timely update to both your previous edition and the Jethro Tull/Ian lyric collection. Thanks again for sharing it here
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Post by Quizz Kid on Apr 24, 2014 16:33:57 GMT
I agree with much that you have said in your reviews of HE Quizz. I reviewed it as a part of DPRP's team some weeks ago and to be honest I have not played it much since even though I initially liked it. Maybe I just played it too many times in order to review it
www.dprp.net/reviews/201419.php Thanks for the link PP, for those that would like to see the review, and very well written it is to, with permission and acknowledgement to Dutch Progressive Rock Page [www.dprp.net]. Here is Preston's full review. "Ian Anderson arranged a blind date with the muse on 1st January 2013. As a result, Homo Erraticus, Anderson's latest musical offspring, was conceived. The results of this initial encounter were apparently healthy and successful. Over the course of the next few months the pas de deux was repeated and a lengthy period of gestation followed. The quickening occurred as both the concept and tunes were honed and refined towards their natural resolution and technical birth. The final result, Homo Erraticus is slated for delivery on the 14th April where it will join a welcoming family of six albums released in some form under the Ian Anderson moniker.
Incidentally, Homo... is a close sibling of Thick As A Brick 2 as it involves the same musicians who in 2011 performed and delivered that album. That release was packaged as "Jethro Tull's Ian Anderson" and was the follow up to 1972's Magnum Opus Thick As A Brick. This latest work is explicitly packaged as an Ian Anderson release however, unsurprisingly, Homo Erraticus is inseparably linked in its overall style to the larger extended family of albums that were begat and conceived by Anderson as part of his relationship with Jethro Tull.
The concept of Homo Erraticus concerns the writings of a fictional character, Ernest T. Parritt (1865-1928), who in an unpublished manuscript examines key and future events of British history. The manuscript, entitled "Homo Erraticus", was apparently discovered by one Gerald Bostock, the renowned lyricist of Thick as a Brick. Gerald was captivated by the documents, testimonies and prophecies, viewing them as metaphor for modern life, and felt compelled to write lyrics to interpret their meaning and reflect upon humanity's propensity for migration. Apparently, Anderson created the music to accompany and embellish this weighty concept. The results of this spoof assignation are now unleashed on an unsuspecting worldwide audience.
The project is divided into three parts; Part 1 deals with the past, Part 2 relates to Paritt's prophecies and the final part, entitled Revelations, offers listeners an insight into the future. The question is - does the final result do justice to the concept, one that is concerned with an extravagant reflection on the migration of the wandering man, Homo Erraticus, through past, present and beyond?
Anderson's flute - spitting, snarling, and trilling - dances upon a rock-based landscape providing structured moments and melodies of delicate beauty. In contrast, unfurled and unfettered the flute exultantly detonates in short inspired bursts. These provide frequent moments of pure excitement and exhilarating flute rock.
For those who appreciate the music of Jethro Tull or Ian Anderson, Homo Erraticus provides much to enjoy. It is dominated by the characteristics associated with Tull releases through the ages, in particular Roots to Branches, J-Tull Dot Com and the more successful aspects of TAAB 2 are brought to mind. Nevertheless, there is enough within Homo... that is fresh and innovative.
An example is the opening track, Doggerland, reminiscent in its chorus of Roots to Branches rather than classic '70s Tull. It is led by a driving flute rock rhythm that is contrasted with attractive melodic vocal and keyboard parts. The highlight though, without doubt, is the instrumental section. This part is archetypal in both its structure and execution, but nonetheless has sufficient originality to satisfy. The passage begins with a repeated flute riff, Florian Opahle is given an opportunity to dispel any doubters as his superbly implemented guitar solo reaches parts only imagined by others. This fretted spell is broken all too soon as John O'Hara's classic Hammond sounds take over. Opahle's playing, often low in the mix, tastefully embellishes the majority of the compositions. For example, he offers a wonderfully constructed and emotive solo in the powerful ballad After These Wars. The music and performance of the ensemble throughout is tightly coiled and arranged and the quality of the playing is impressive. Consequently, I longed for instrumental passages such as this to spring free, develop further and last significantly longer. The tune resumes, and then falls back once again into a chorus and verse structure, before ending with a flute fadeout.
The bright acoustic track Heavy Metals follows. Anderson has always had a penchant for creating short effective interlude tunes and this one does not disappoint. Heavy Metals is firmly embedded in the style and instrumentation of the shorter pieces on TAAB 2 such as Upper Sixth Loan Shark and Give Till It Hurts, but is far more effective. Subtle influences of church music permeate the piece. Backing vocals cleverly produce the rhythm of a forge and create a contemplative effect.
Homo Erraticus contains two other satisfyingly impressive acoustically based tracks of which the delightful Meliora Sequamur has become a favourite. In this, the influence of church music is even more explicit. Ryan O'Donnell's warm tenor voice in partnership with Anderson is particularly effective. This vocal approach creates an Olde English sound somewhat similar to Amazing Blondel's Spring Season from Evensong. Anderson's total mastery of his craft is apparent in the short but unforgettable In For a Pound. At just 37 seconds long it proudly takes over the mantle from The Minstrel in The Gallery's Grace, as Anderson's shortest but sweetest song.
One of the most intriguing tracks on offer is Enter The Uninvited. Certainly, it is a track which despite repeated plays has yet to fully offer up all of its facets. It has a hauntingly sparse instrumental prelude. This ranks in quality and atmosphere alongside the memorable beginning of Strange Avenues from Rock Island. The dominant recurring instrumental theme of Enter the Uninvited is never less than captivating. In this track Anderson explores some of the vocal spoken phrasings that were used in Hot Mango Flush in Tull's 1999 Dot Com release. For some, Mango... was a low point of Tull's recording career, an approach hopefully never to be repeated. However, within Enter The Uninvited the style works well and contrasts interestingly with the other vocal parts.
In the longest piece, Puer Ferox Adventus, John O'Hara's subtle keyboard work excels. It also contains some of the most evocative and effective lyrics of the album, Anderson clearly enunciating events surrounding the emergence of faith in the British Isles.
Throughout Homo Erraticus, Anderson's vocal performance is more than adequate. Nevertheless, listeners might find that his now limited vocal range ensures that some of the vocal parts sound uncannily similar. It is possible that vocal limitations have hindered and limited the tonal range which Anderson feels that he can use within his compositions. Given this, some may feel, that there is a disproportionate use of vocals. The wordy nature of many of the compositions has the potential to bring about listener fatigue and Homo Erraticus is certainly loquacious and lyrically expansive. Anderson's delivery of the lyrics can appear to be awkward. On occasion the words sung do not seem to match the music. Arguably, this has been a feature of aspects of his songwriting since Rupis Dance.
No such concerns surround Tripudium Ad Bellum. Tightly spun, this is a stunning instrumental piece that shifts, growls and bounces along in an exceptional manner. As such, it is an undeniable highlight.
In the final analysis, it may be that Anderson's blind date with the muse was not such an innovative and creative encounter as one may have wished for. Blind dates can of course be unsuccessful. Chance, unplanned encounters based upon mysterious chemistry might, in the long run, have proved to be more truly inspirational, ground breaking and rewarding for Anderson for although entertaining and compelling, Homo Erraticus is not, it seems, as individually unique as might be imagined or hoped for.
Upon detailed analysis, a number of the tracks contain intentional, or unintentional, references to earlier works. For example, The Pax Brittanica has references to the middle bit of Thick As a Brick. It also appears to contain an amalgam of aspects of Mayhem Maybe from the Broadsword... sessions and Last Man at the Party from the Christmas Album. For me at least , this uneasy alliance between the new and the old just does not work. Despite its attractive hook and David Goodier's fine bass harmonics, it is a piece that I have frequently skipped. In a similar manner, the satisfying rock tune Turnpike Inn bears a passing resemblance to Kismet from TAAB 2. If that was not enough to make one consider the cogency of Anderson's pas de deux with the muse, the thoroughly enjoyable New Blood, Old Veins contains some similarities to Two Short Planks from Rupis Dance.
Notwithstanding this, Homo Erraticus is a more than welcome addition to the canon of Anderson works. It is on occasion a very impressive album and is altogether more satisfying than TAAB 2. Although I thoroughly enjoyed it, Homo Erraticus is in many ways anomalous and idiosyncratic. This is summed up by the beautiful instrumental passage that ends the album which is unconnected by what has preceded it. The passage stands alone, a beacon of creative musical brilliance shining towards the future. If Homo... was judged by its concept alone then this might well be considered a classic progressive rock release. Musically though, more rock than prog, it has an eclectic and endearing quality that straddles it somewhat precariously between the solo works of Ian Anderson and the larger family of Tull. In this context I hope that it does not falter or fall, weighed down by the expectations of past achievements, unnoticed into the pit of indifference. I look forward expectantly to see how Homo Erraticus is transferred to a live setting. It was initially created with live performances in mind. The piece was then organically refined in the studio as an entity to grow and develop further on the stage. Now ready to take on this role, I am confident that it will not disappoint, and, as Bostock might say, 'I really don't think you should sit this one out'."
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Post by Quizz Kid on Apr 23, 2014 21:43:03 GMT
Found this recently, a track taken from an album by a band called PC Kent [no relation as far as I know]. The album was called "Upstairs coming down" and the track is called "Plastic Wedding", it's credited as being orchestrated by David Palmer.
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Post by Quizz Kid on Apr 23, 2014 16:36:52 GMT
Preston,
Firstly thanks for joining us, nice to speak with you again. Secondly I have to congratulate you on a brilliant review, that is so well written and sums it up better than any type I could put on a page, and thanks also for identifying the 'two short planks' similarity which I have been searching for in the back catalogue I carry in my head.
I am at pains to stress that I do not think this is a bad album, just one that for me is ill-timed I suppose. I've been looking forward to it for a long time and probably expected too much, particularly with the promise of Prog/Folk/Metal rock. Oddly, you touch on a point which made me think, if HE had come before TaaB2 I would have been more accepting of it from the start. I was put off by the close comparision between tracks like Turnpike and Kismet, probabaly because I find Kismet a stronger song, and if the former had follwed the latter I wouldn't have felt deflated by what seemed on first listen to be a less than dynamic song. Still it is an album that musically deserves it's place in the charts and on any Tull fan's record collection.
Still, that was one great review, feel free to share it completely here. I'm sure many would want to read it.
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Post by Quizz Kid on Apr 23, 2014 11:08:30 GMT
From the outset I have to say I have tried my damndest. I have read some glowing [and some gushing] reviews both on the professional press and from fans, so I stuck with it and I have now had multple listens to the album, trying to give it my best shot at a fair hearing to dispel my original feelings.
To a greater degree that has worked, I think the problem of being over influenced by other people's reviews is a trait that befalls me in listening to Ian/Tull albums on first hearing. If they get bad reviews then I become all defensive of the band I love, if they appear all gushy declaring Ian as a genius who cannot falter, then I hope for and try to apply a little realism. It's my realism admittedly, but a level playing field isn't too bad a position to start from I think.
HE has some incredibly wonderful pieces of music contained in it. There are some fantastic lyrics which could only have been penned by Ian, the packaging is superb [despite the contradiction on what would be provided in the sets and what was delivered - and on the subject of delivery, the huge disappointment some fans have had over the late arrival of their sets despite pre-ordering sometime ago] and on listening intently some of the best playing this musically untrained ear has heard in some time.
However, it may just be the timing, it may just be circumstance, I may have been influenced by some of the over zealous fan hype but I still find this album, as a complete piece, to be quite inaccessible. That's not to say that significant chunks of it aren't good to great, but at the moment it's just does not have the feel of an album I am going to play constantly or consistantly from start to finish. The concept and theme, irrespective of the pretend story behind it, makes for a good topic, but I just can't seem to get into it, I hope that changes as I will continue to try and give this album time to grow on me.
It's been picked up elsewhere, and I did mention it in my first impressions above, but there is a hell of a lot of reptition in there for me, both in terms of repeated themes within HE and references to past work, some as recent as TaaB2 which I personally found distracting.
I hope there's enough in here for me to get into over time.
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Post by Quizz Kid on Apr 23, 2014 10:19:06 GMT
I would have loved to have been in on the meeting where this was first suggested.
Never seen it before, thanks for posting it TT
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Post by Quizz Kid on Apr 23, 2014 10:14:58 GMT
I tend to think that change occurred around the period between Warchild and Minstrel, more probably as a result meeting Shona, settling down and moving into married life. It probably became less about making music with your mates and realising that this was going to be the income generator for the family, so better focus on it in an independent and business like way.
Maybe "Too old to rock and roll" was more prophetic than imagined. Could it be more about signalling the end to the single life and your independence rather than being at an end as a 'rocker' [as per the storyboard] or a madcap musician? It was just shortly afterwards that there was a major shift in style with the more folkier SftW and HH sets; where the shows were more slick, professional and, some might say, sedate stage presence particularly when compared with the Ian of old.
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Post by Quizz Kid on Apr 22, 2014 9:35:37 GMT
For me it was a dual route, the older sister of a girlfriend was getting rid of some of her singles and gave me a stack of them, amongst them was A Christmas Song (with the misprinted label), and Living in the Past, a little later after my Tull fan-boy habit kicked in she also gave me Sweet Dream and Witches Promise, and a lot more.
Around the same time a school-mate had borrowed some 'Progressive and Underground Rock' albums from our local record lending library, one was Stand Up, which I in turn borrowed from him. That was the start of it for me, I was well and truly hooked. When Benefit came out I borrowed that from the record library and transferred it to cassette. My first Tull LP purchase with my own money was Aqualung (£1.40), and later my parents bought me TaaB as part of my birthday present, from that point on Tull were firmly fixed in my life.
My first Tull gig was TaaB at the RAH, that set the benchmark by which I have judged every show I have since seen.
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Post by Quizz Kid on Apr 21, 2014 21:39:03 GMT
I've got the vinyl of this boot but haven't played it for years, great to hear it again, thanks Darin
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Post by Quizz Kid on Apr 21, 2014 16:04:20 GMT
That's great, just in case any of our members don't get the connection here's a link to the ad that might have inspired this
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Post by Quizz Kid on Apr 20, 2014 21:10:37 GMT
I had more hair then.
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Post by Quizz Kid on Apr 19, 2014 22:57:08 GMT
Welcome aboard good Doctor!
By the sound of it you have got a stack of great views to contribute. I'm with you on the overshadowing of some truly great music by the excesses of prog, particulalrly the current fixation on prog meisterworks, feel free to open up a few topics for discussion
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Post by Quizz Kid on Apr 19, 2014 22:09:17 GMT
As one of my favourite Tull songs I had a go at this title a time ago, but thought I'd use it to vainly attempt a self portrait, with me being the 'me' in the title. Always been a big fan of the space programme, always fascinated by Michael Collins' role in the Apollo 11 mission and the Tull link with Jeffrey was irresistable.
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Post by Quizz Kid on Apr 18, 2014 20:56:49 GMT
One last one of mine - Ian and Martin at Hammersmith '84
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Post by Quizz Kid on Apr 18, 2014 20:49:49 GMT
David The London shows this tour are at The Shepherds Bush Empire, a smaller venue than Hammersmith but still a reasonably good venue. It's another old theatre/cinema and certainly isn't state of the art. Sadly, it doesn't have the same degree of grandeur as The Wang Centre in Boston and The Beacon in NYC. Here's a couple more of my shots of Ian from the Hammersmith Under Wraps gig.
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Post by Quizz Kid on Apr 17, 2014 19:50:14 GMT
From The Independent The concept album makes surprise top ten return with neolithic opus from Jethro Tull's Ian Anderson
Adam Sherwin
It is a three-act, musical history of Britain featuring songs about a nomadic Neolithic settler, Christian monks and an Iron Age blacksmith - the “concept album” is making a comeback with the surprise chart success of the latest release from Ian Anderson, the frontman of Jethro Tull.
A “prog rock” pioneer, the 66 year-old Anderson is set to enjoy his biggest UK hit for more than 40 years with Homo Erraticus, an unashamed concept album, which examines “key events from throughout British history” and offers “a number of prophecies for the future”.
The album has shot into the top ten at number 6, according to the Official Charts Company midweek update. It is some achievement for a musical suite, divided into three sections, “Chronicles”, “Prophecies” and “Revelations”, which one review called “as close to 1970s progressive rock as is possible in 2014.”
Opening with Doggerland, a tribute to the area of the southern North Sea that used to be dry land connecting the British Isles with the rest of Europe, the meta-fictional narrative of Homo Erraticus revives characters from Thick As A Brick, Tull’s 1972 concept album which topped the US charts.
Anderson, rock’s most famous flautist, said the concept album, out of favour in an era where music fans build digital playlists from context-free single tracks, is on the way back.
“If you want to cram 8,400 years of history into 50 minutes of music only the progressive rock album can do that,” Anderson told The Independent. “No-one had written a song about Dogger. So I fleshed out bullet-points of song scenarios into the archetypal, OTT concept of a prog rock album.”
The record’s success revives memories of an era when students pored over gatefold-sleeved albums housing cod-classical rock marred by Tolkien-light lyrics.
He said: “Concept albums went out of fashion in the mid-70s but progressive music is gathering a lot of strength again. Prog’s bombastic, self-indulgent musical noodlings got a lot of people annoyed. It took punk to wash the system clean and make a fresh start.”
“The concept for this album is migration. All of us are from somewhere else. But it’s not a stern lecture. The music has to work on a foot-tapping level. For people who want to peel back the layers of the onion they can find other elements.”
The Scottish-born musician, who used to own a £10 million fish processing business on his Isle of Skye estate and enjoys an estimated wealth of £35 million, is surprised by his return to the upper echelon of the charts. “If it’s number 6 today, it will be 36 next week, then 1,006. But it’s nice to be recognised in any context.”
However, Anderson, elevated to Prog God Award by Prog Magazine last year, has retired the Jethro Tull name. The 18th-century British agronomist who invented the machine drill for sowing seed for commercial gain deserved better, the musician believes. “We didn’t know our booking agent named us after a dead guy. I didn’t do Jethro Tull in O-level history. We couldn’t change the name after we started having some success.”
He admits: “I’ve always felt a bit of embarrassment about the name and now it’s time to take a step back. When I tour this album I don’t want 20 drunk yobbos jeering because we’re not just doing their 20 favourite Tull songs: ‘Stay at home, watch the baseball game but this time don’t go to the concert.’”
Although the classic spoof movie This Is Spinal Tap mocked the absurdities of the prog rock concept album, Anderson praises the film for “helping keep alive the movement”.
The singer believes that Spinal Tap’s fictional bassist Derek Smalls was inspired by Derek Small, a character who appeared on Tull’s Thick As A Brick. Anderson said: “I once challenged Harry Shearer (who played Smalls) and asked him if he owned a copy of our album. Harry eventually said he did but he never played it. I had him, it was a Bill Clinton ‘I didn’t inhale’ moment.”www.independent.co.uk/arts-entertainment/music/news/the-concept-album-makes-surprise-top-ten-return-with-neolithic-opus-from-jethro-tulls-ian-anderson-9268339.htmlPity they got the title to the image wrong......
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Post by Quizz Kid on Apr 17, 2014 17:48:45 GMT
David
I always found it to be a pretty good venue soundwise. It was at one time the place bands aspired to play, sadly that's been lost now to the cavernous O2. A place where I have no desire to see a band play.
Hammersmith had some great gigs and a quick check of my gig list shows I saw every night Tull played there bar one. I saw all of The Who's shows there from the 70's onwards, including the 'Rock for Kampuchea' gig and all their Christmas shows, REM, Cat Stevens, Wishbone Ash, Roxy Music, The Jam and stacks more. The most disappointing being David Bowie's farewell gig as Ziggy. A mate and I had tickets and gallently offered them to two girls in the hope we would achieve some sort of recognition, sadly it didn't work and we subsequntly found out they didn't use them. The best laid plans etc etc.
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