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Post by Gerrald Bostock on Jun 27, 2014 13:45:30 GMT
Oh yes, just dropped through the door ....I WONDER.. Some Surprise?
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Post by Gerrald Bostock on Jun 25, 2014 15:32:44 GMT
A prized album, I got this way back in 1979 and it has always had a special place in my collection. Although I have many autographed items but this one is special for the album it is on. Nice to have Martin and Ian's signature on one of my favorite albums. I should of given Pat this album back in October when he visited so Jane could of added her signature to it. Hey maybe in November huh Pat (LOL).
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Post by Gerrald Bostock on Jun 25, 2014 14:48:41 GMT
A question that has many different nuances to it. I think that a lot of Tull's shall we say fall from grace was the music scene itself. It didn't help the eras of the "power ballads" or the dumbing down of the music fans. The music industry dictated what was going to get played and what was going to be popular.
Truth be told after 79 Stormwatch album Tull's music was really not radio friendly or the stations that would play bands like Tull were changing formats, so they lost the air waves to speak. Ian and Tull relied on there rich history to get through the early 80's, but even they were downsizing playing the second tier places (10 to 12,000) seaters. I think a lot of what made Tull , Tull was gone after the big split. Ian only had Martin left and it was probably difficult for the band to gain its identity. One of the biggest problems came in 84 on Under Wraps when Ian had problems with his voice. He could no longer sing certain songs in the manner in which the fans were used to.
A lot of causal fans probably decided to move on and the semi more dedicated fans stayed on board because: A. Tull is Tull B Ian is a great performer C Martin is well Martin D Tull id Tull. So the fans were treated to Crest in 87, a fine album that got a lot of air play for Tull, and there was a short lived resurgence in Tull. Even to the point in 88 that they got a grammy for the album. But sad it is still the blunt of many jokes.
The late 80's and early 90's were a time were they had some decent albums but the crowds became smaller into the realm, of 7500 seaters, there were still many places that they would get 12,000 "ais" but the average had waned down. I thought that Roots to Branches was by far there best album since 79 (IMO) and that that line up was going to bring Tull up a notch or two, but sadly it was not to be. Sadly it would be one of the last studio albums they did. Dot.com was well I think a very uninspired attempt at putting some songs on a disk and lets sell it.
Ian and Tull did them selves no favors when we got the basic same show for 5 years and Ian's voice was hit or miss. When Ian was good he damn brilliant as in the past, but if he had a bad night ..it could be very bad. Those 4 years of no new material might have been the swan song starting.Even when dot com came out the set list tired before it ever got going, an album and tour that was not one of their finest.
Ian and Tull in 21st century was a jukebox of old hits, mix in some of Ian solo stuff and that was the tour. That was the format they used for quite some time on occasion some gems would be thrown in, but the lack of new material hurt Tull.
Ok I will end my blabbering with this, I would of thought that a resurgence could of began after Roots, that was squander by no new material and the same tour year in and year out. What would it take now probably the classic 70's lineup Ian, Martin,John,Barrie, Jeffrey, and Dee. However knowing Jeffrey would rather paint, I bet Peggy would e a decent choice for that.
But that said we have Ian playing with his bans, which is a very good. Martin playing with his, which is another good thing. We should be celebrating there music and happy that they are still out tour and putting out music for us.
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Post by Gerrald Bostock on Jun 25, 2014 13:00:39 GMT
www.staythirstymedia.com/201407-085/html/201407-ian-anderson.htmlBy Kent Brown Entertainment Editor Atlanta, GA, USA -------------------------------------------------------------------------------- When thinking of flute-playing rock legends, there's really only two names that come to mind: Ian Anderson and Jethro Tull. After over forty-five years of redefining prog-rock in the late 1960's, Ian Anderson is still going strong with his current world tour and release of his newest album, Homo Erraticus. THIRSTY sat down with Ian to discuss a myriad of topics ranging from his current tour, the Rock and Roll Hall of Fame, the influence of American blues, an awkward Grammy moment, Jimmy Page's studio visit and even why he picked up the flute in the first place. THIRSTY: Ian, thank for joining us today. It's a pleasure. Tell me about the new album, Homo Erraticus, and how the current tour is going? IAN ANDERSON: Well, we just finished doing a lengthy UK tour, which I think went – artistically for the band and for the audience too – pretty well. We're doing several shows this summer in various parts of Europe, many of which are not the production tour Homo Erraticus, but more of "Best Of" summer shows. We start up in the U.S.A. in September and work our way through a couple of tours there, then to Europe and then throw in New Zealand – and then it's Christmas! So things are going fine and we're keeping very busy. It increases as the year wears on, the more shows, I suppose, the more I am mentally and physically focused and in better shape as a result of doing this sort of thing at my age than I would be if I sat at home and went fishing. THIRSTY: I have to ask you – how does it feel to step out of the "alter-ego", as you put it, and present Ian Anderson to the masses? IAN ANDERSON: It's something increasingly that has been the case over the last ten or fifteen years. I have chosen more and more frequently using my own name but I suppose in these years now I feel that it is just a question of branding…but I really would rather use my own name. Of course the Jethro Tull records were to be distinct from Jethro Tull the historical character who invented the seed drill in the 18th century. Jethro Tull records remain, obviously, a big part of what I do, what I love, and what I stand for. But I think I want my own name out there as often as possible just to remind people that Jethro Tull is primarily two things: if you Google it, it's the name of the band and the music associated with forty-odd years of recording and touring, but it, perhaps more importantly, belongs to somebody else who in his own way was a very important historical character and contributed tremendously around the world with the development of farming technology that we know today. THIRSTY: Do you feel like you may get some backlash from the 18th century agricultural revolution and its fans? IAN ANDERSON: Well if I was going to get it, it would have happened – I would think – back in 1968. So, no, I think one of Jethro Tull's original family didn't take too kindly to the use of the name back then, but it faded away, along with the Aqualung Corporation of North America who were all upset when the name of the album was revealed and they felt it was a misuse of their trade name. But they quietly sort of relaxed to that and we never had any sort of incident over the ensuing years and they accepted that it is a name of something that is an artistic endeavor, and you get away with it. As long as we don't abuse it too much to cripple it. Aqualung THIRSTY: To me, the music of Jethro Tull has a unique place – almost a transportive sound. It's hard for me to imagine that kind of eloquence coming from a hodgepodge of guys who simply loved playing the blues in local London pubs. Can you reflect on the evolution of Jethro Tull's humble beginnings to the production of masterful works like Aqualung, Thick as a Brick – and now Homo Erraticus – and becoming a Grammy Award-winning band? IAN ANDERSON: The early days – indeed we were a little blues band who were probably not really going to go anywhere except for the fact I suppose that we stood out from the crowd because of the flute, which with all respect to the other guys, it was the thing that got us noticed and the thing that made us different. I think that that was an important part of the initial impression that the band gave. However, after relatively few months – by the summer of 1968 in fact – just a mere six months after we started – I had begun the music which was to become the Stand Up album the following year. And that album wasn't going to work for our existing guitar player who didn't really, I suppose, find it that easy to understand or contribute to what I was writing, so inevitably there was a parting of the ways. The band evolved in '69 with a much more eclectic set of influences that, I suppose, came with the music I was writing, which maybe stretched it a little bit for a couple of the guys in the band who found those musical ideas more difficult to find a way to express. But I think overall it's a pretty good album. We certainly broadened out and were amply rewarded in Europe and the UK and later in the U.S.A. when we did have quite a difference from some of the other bands. I think the folky, the world music, the eclectic elements that appeared in Stand Up were an important part of that development. That was a coming of age – more so, perhaps, with the Aqualung album, which was the "singer/songwriter" approach, that brought more of my acoustic guitar playing into the mix. I think the dynamic range of Aqualung, together with the light and the shade and the emotion to it – some was rather dark and serious, some was uplifting and whimsical – so I think that probably was the album that really brought about a period of maturity. And the albums that followed were progressive "prog-rock" style. I became more detailed in arrangements and performance terms, but its just part of the evolution. Not all of it, necessarily, announced experiments that bore particularly exotic fruit. They didn't all succeed – everything didn't work out just fine. You learn from your mistakes as much as from your successes. Ian Anderson Band THIRSTY: What did winning a Grammy Award mean to Jethro Tull as a band and to you personally? IAN ANDERSON: Well, I suppose it was a difficult one because we weren't there to share in joy of the ceremony of the Grammy Awards. I think we told by our record company back then that we were unlikely recipients of the nomination. We were almost certainly not going to win because Metallica was the hot ticket and the band that would take that new category. And so, nobody expected Jethro Tull to actually receive the Grammy. We weren't invited to go to the ceremony. We were busy recording in the UK – we weren't going to fly 5,000 miles to gently applaud Metallica. It didn't seem like a wise course of action or expenditure on the part of our record company, so we didn't go. And when we did win, it wasn't really for a heavy metal, hard rock Grammy; we were getting awarded a Grammy by our success and the voting members of the Academy of Recording Arts and Sciences because we were a bunch of nice guys who had never won a Grammy before. That was what we got the Grammy for. And since they didn't really have a category then – and to my knowledge still don't have to this day – a category for best one-legged flute player, then I guess I should be content with what I have: an accolade from our peer group, musicians, writers, producers, record company folks – so nice to win it. But if it would have been, I think, a more appropriate category it would have made it easier for everybody. THIRSTY: I know that blues music had an important impact on you and on the band in its early days. What about the blues movement spoke to you as an artist? IAN ANDERSON: That began not as the blues movement, so much, as my awareness of black American folk – to a little extent urban blues – when I was a teenager. When I first heard Muddy Waters and Howlin' Wolf and Sonny Boy Williamson, Sonny Terry, Brownie McGee, John Lee Hooker – these were guys that made very powerful music which resonated to me, not from a social or cultural point of view, but from purely a visceral – rather strange and exotic music. It was something that fired up a lot of people in my country at that time. But I don't think we knew for one minute, really, what the black experience was that spawned that music. We were very unaware of the historical, and the continuing, struggle of black people and their music in a predominantly white, and quite racist, society. One of my personal favorites of that era was a guy called J.B. Lenoir, who unusually amongst black blues musicians, actually sang in their music about the racial troubles and the riots that took place in the '60's. That was, I guess, a brave and quite unusual thing to do – to dwell upon issues and accuse racism that was still occurring in the '60's. So that began to impact upon me at a time when I really had to decide that this music wasn't my music – it was the passionate heart and soul music of a very different culture and society that I could never join or be a part of. I found it for my own personal point of view disagreeable to be imitating that music because I had such growing respect for what it stood for. I didn't really want to be a middle-class white boy pretending to sing the blues, so I started looking for other influences around the time I was 21, 22-years-old. THIRSTY: When most kids decide they want to be in a rock n' roll band, their first inclination is not go grab a flute and start jamming away. I'm interested to know how that process began for you – and how it was received by rock n' roll "traditionalists." IAN ANDERSON: I think the answer to that is fairly straightforward because I was not a terribly good guitar player in my mid-to-later teen years and so finding the flute was a chance encounter with an alternative instrument that I could make my own voice. Instead of being a second-rate guitar player and very much in the shadow of Eric Clapton, Jimmy Page, Jeff Beck, Peter Green – those guys who were the hotshot guitarists in London. So, coming to London, and being a very rough and un-tutored flute player, made me stand about above the crowd and resulted in something that was surprisingly well received by the audience. I think one of our managers at the time, Chris Wright, was convinced that it was the wrong move and wanted me to learn to play background keyboards, stand at the back of the stage, and let our guitarist Mick Abrahams do the singing be the front man. But I kind of knew better. I had a feeling I was onto something with the flute and a few weeks later I think that Chris Wright realized that the flute was indeed an unlikely asset…it was a difference that we should maintain. The audience made it clear that this was something they found amusing, interesting, different – and it is of course a "girly" instrument. It's very popular for young girls to play the flute. But it is, of course, a phallic instrument; one that gets its origins from the seductive techniques of Lord Krishna, various North and South American Indian Gods, and indeed, even the Pied Piper of Hamelin. And these days we prefer to think of him seducing the rats with his flute during the time of Hamelin with the rodent infestation rather more than we like to think of his seduction of the young children of the neighborhood when they were lured off into a cave never to be seen again in an act of retaliation for the lack of gratitude of the townspeople for leaving the town without rats. However, today, he probably would have gone down for twenty years for some rampant act of pedophilia. So we care not to think about those things these days. Sadly to say, I am very conscious when I am active with young flute students – and teachers across the world, let alone people like me – have to be bloody careful these days not to get in any way cozy with youngsters. We live in a weird world. I can't even go with my grandchildren to a public place and take photographs of them without probably getting arrested these days. It's a rather sad reality of the world we live in – particularly in these internet years – the fascination with child pornography seems to have not only destroyed the souls of those engaged, but also destroyed, unfortunately, those innocent relationships that we have with our children and our grandchildren. Funny our world that we live in nowadays. That's why I make sure my grandchildren refer to me politely as Mr. Anderson. We keep our distance. THIRSTY: To me, you are a real storyteller, (which continues today in your new album which seems an apt commentary on human quest and evolution through "the wandering man" theme). I feel that true storytelling is a bit of a lost art today – your thoughts? IAN ANDERSON: Well, I'm not so much a storyteller in the sequential sense. I'm more of an observer. I'm more of a landscape painter. I like to create a scene – and to populate it with people. I think that I probably have more of a theatrical view of the world. I see incidents, people – I see them in almost a theatrical context. I see them set within the proscenium arch of a theatre stage. And so, they have a theatre set around them. They have them in an environment – reacting with each other, doing things, saying things, producing. It's less to do with sequential storytelling and more to do with creating scenes and painting a picture. I'm an observer rather than a storyteller. I don't very often sing of my own emotions or my own true reactions or beliefs. I don't "never" do it, but I don't very often do it. More often, when I create a character for a song, I'm endowing that character with a personality with attributes or failings that are very different from my own. I often will inhabit a character in terms of performance, but we mustn't imagine that as me any more than we imagine a skilled actor is the character he plays in a Shakespeare play or in The Walking Dead. Actors get away with it. They're allowed to be somebody different. We respect that. But somehow, we think that pop stars and rock stars have to actually be themselves, otherwise they lose credibility. I don't see the distinction. To me, that is about creating characters that are rich, and perhaps, quite different than "us" – the writers, the orchestrators, the directors. I think in a way, we need to mature our attitude towards the heart and soul of rock music and songs and be aware that in opera, in theatrical musicals – people write characters, performers perform the character and you don't have to be that person. You are taking the character from somebody else when you perform it – or even as a writer when you create those characters and write words for them to say. THIRSTY: You must have known what my next question was going to be because I was going to say that Jethro Tull has always had a theatrical element to its sound and performance. In the Homo Erraticus notes, there is a reference to "Shakespeare rocks." Are you a lover of the Bard? Ian Anderson IAN ANDERSON: There are things that I find…where I have to be filled with respect, though I don't necessarily know a huge amount of the work or the characters. Of course, Shakespeare is a national asset – he's an international asset really – someone who was the consummate real storyteller. I suppose even though I'm not really a "fan" of the work, I enjoy elements of it that I have seen. Of course, I hugely admire those actors from all walks of acting life who take on Shakespeare because it's a tough nut to crack. Rarely do artists and actors get great reviews. It is an area in which harsh criticism abounds, when you decide to do Shakespeare, especially if you're a Yank, because with rare exceptions – it ends in tears. Kevin Spacey is probably one of those guys who can kind of get away with it because he's sort of been adopted as a cultural asset of our country – where he has spent most of his time and very active in serious theatre. Actually, I enjoy Kevin Spacey when he is doing perhaps more accessible parts. I was watching Kevin Spacey in a movie last night on the television called A Time to Kill. And, as usual, he was great – he doesn't overact – he can let the words and his expression and context tell the story. He's a great actor. And I am not! It's not my job to do that sort of stuff. THIRSTY: I am curious to know what your thoughts are on the Rock and Roll Hall of Fame. IAN ANDERSON: The Rock and Roll Hall of Fame is essentially an American institution. It's one that I think should serve, primarily, those great American artists – many of whom have failed to make it, in terms of being inducted into the Hall of Fame. I think they deserve their place in the Hall of Fame long before you start going to the dregs of the British Rock Invasion and present them in such hallowed company. I think it's an American institution meant to serve American music. For the most part, those British artists who've made it into the Hall of Fame tend to draw more on American influences in their music, so arguably, what I do doesn't really have more than a passing reference in that context. It's not something that I am in any way bent out of shape in regard to. I mean, since the Hall of Fame opened – it's been there for a long time – but when it did open, they had a couple of exhibits of stuff of mine…my clothing, flutes, albums, whatever. They had stuff in there that acknowledged the presence of Jethro Tull. If, at this stage we were to be inducted into the Hall of Fame, I would feel really embarrassed about it because I would be getting the impression that it's kind of a little late in the day to be asked to participate in that degree. I think I can think of other people – like J.B. Lenoir – he should be in there. I can't say for sure that he's not, but he ought to be as one of the unsung heroes of black American music. THIRSTY: One question that I have always wanted to ask you: Who is Aqualung? I know the song was partially inspired by the homeless, but how did this story unfold for you as you conceptualized it? IAN ANDERSON: The name – it's one of those rare occasions where I collaborated with somebody, my first wife. We were briefly married and we made an attempt to try to do something creative together on one occasion. As a result, she had some photographs that she had taken – she had studied photography in college – and she wanted to see if one of those characters in the photos could be brought alive in song. I asked her to write down words to describe this person, just to try to involve the songwriting process – I just said to scribble your thoughts out on paper. We made the lyrics of the song out of her descriptive words and I had to make those scan and work as a song piece of music. I think the name Aqualung was something that came to me as an idea as a nickname for this character; this emphysema-ridden condition that was given by his peers the name Aqualung. It's kind of a strange thing because Robin Williams – almost independently I suppose – created that character in The Fisher King. I often wonder if Robin Williams had ever seen the album cover or heard the album or knew the character, because it certainly resonated for me as a depiction of someone falling into that homelessness with all of the contradictory emotions that go along with it for other people; a mixture of pity, fear, loathing, mistrust. It's a complex issue. In fact The Fisher King was, indeed, on television last night. I didn't record it – I haven't watched it since it first came out. But it's the evolution of that attempt to write a song together – probably the only – one of two times when I have actually collaborated with somebody to a fifty percent level. Not something I would normally do. There are some little snippets of music that the other band guys contributed here and there, but for the most part, I am a loner. When it comes to writing music, I just have to, kind of, do it. I hated working with other people or trying to accommodate or feeling self-conscious enough to do that. I am a loner. To me, writing songs – writing music – in collaboration seems as absurd as two artists trying to paint the same picture. Of course, that is not entirely unusual because of processes that were commonly used, even by the great masters, who would have their apprentices kind of "finish off" or add little bits of background to paintings on their behalf, and they would just sign it off as their own work and that process is still carried out today in some corners of contemporary art. But for the most part, artists sit alone in their galleys, with a north facing room, and work alone in tortured silence. THIRSTY: When you recorded Aqualung – that was when Island Records first opened their London studio. You were reportedly recording at the same time as Led Zeppelin when they were recording their fourth untitled album. You guys got the big studio and Zeppelin got the small one? How did that dichotomy work? IAN ANDERSON: The Zeps they were in the smaller, more boutique studio. We were in a cavernous church main body, which was a big, empty, horrible, cold, echoey room. It was a dreadful place to work in. The controller room was even worse. We occasionally managed to slip in to do an over-dub or listen to our track in the smaller studio when Zeppelin wasn't there. But they were busy downstairs doing their thing. I remember Jimmy Page popped into our session, actually at the time Martin Barre was over-dubbing the guitar solo for the song "Aqualung". He was in the room, being encouraging, sort of chugging along to the music. Quite intimidating, as you can imagine, from our view, having Jimmy Page watch you try to record! But we really didn't see much of Led Zeppelin because, like us, they were heads-down, trying to get an album finished. We didn't really see them or socialize with them. I don't remember how many days we coincided being there, but I do remember that they were the principle reason you couldn't get into the smaller studio! THIRSTY: I was checking out some to of the tour photos – and you can still nail that minstrel leg-kick. What's your secret? IAN ANDERSON: It's not something that requires much in the way of secrets or physical prowess or dexterity. It's just a natural thing – like riding a bicycle. I was out riding around the farm yesterday and came across a competition-style motorcycle that I haven't ridden in quite a while, but once you've spent thirty seconds in the saddle, or rather, standing because you run trials by standing up most of the time, your sense of balance, the throttle control, the slipping of the clutch, the "slip-slidey" back wheel if you're going through something wet – it kind of comes back to you quickly. It's just as well, otherwise you'd fall over, which is exactly what would happen to me if I didn't retain that physical and mental memory of standing on one leg. I would fall over, and you would all laugh because I would be doing it live onstage! THIRSTY: Congrats on continuing to produce such wonderful work and your newest success story, Homo Erraticus. Can't wait to hear what's next for you. IAN ANDERSON: Perfect. Nice to talk with you. Link: Ian Anderson - See more at: www.staythirstymedia.com/201407-085/html/201407-ian-anderson.html#sthash.3Raegx1G.dpuf
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Post by Gerrald Bostock on Jun 25, 2014 12:42:30 GMT
VOXY.CO www.voxy.co.nz/entertainment/jethro-tull-extra-dates-announced/5/194290Tuesday, 24 June, 2014 - 10:07 Due to overwhelming demand, two extra dates have been added to the THE BEST OF JETHRO TULL tour this December: Christchurch will have a second concert on 17 December and Auckland on 21 December. Tickets to these new shows will go on sale this Thursday via Ticketek (Christchurch) and Ticketmaster (Auckland) and fans are urged to act quickly. Promoters Stewart and Tricia Macpherson said they were thrilled with the response to the tour, with tickets selling out within minutes of going on sale last week. "The demand for this act is phenomenal" says Mr Macpherson. "We have been inundated by people who missed out so the band has agreed to re-route its travels to include these two extra dates. We are delighted and we know fans will be too." The concerts will be a 'best of', featuring hits including Thick As A Brick, Living In The Past, Aqualung, Locomotive Breath, Bouree, new album Homo Erraticus and more. The three-concert tour caps a busy year of touring and a new album by the 60-million album selling Grammy award-winning rockers. The concerts will be the first international rock concert to be staged at Christchurch's newly rebuilt Isaac Theatre Royal. Early in 1968, a group of young British musicians, born from the ashes of various failed regional bands gathered together in hunger, destitution and modest optimism in Luton, North of London. Benefit, Aqualung, and Thick As A Brick followed and the band's success grew internationally. Various band members came and went, but the charismatic front man and composer, flautist and singer Ian Anderson continued, as he does to this day, to lead the group through its various musical incarnations. Jethro Tull were, by the mid-seventies, one of the most successful live performing acts on the world stage, rivalling Zeppelin, Elton John and even the Rolling Stones. Surprising, really, for a group whose more sophisticated and evolved stylistic extravagance was far from the Pop and Rock norm of that era. With now some 30-odd albums to his credit and sales totalling more than 60 million, the apparently uncommercial Ian Anderson, continues to travel near and far to fans across the world. Ian brings with him to New Zealand, his band of musicians featuring David Goodier on bass guitar, John O'Hara on keyboards, Florian Opahle on electric guitar, Scott Hammond on drums and Ryan O'Donnell on accompanying vocals. He will perform a selection from the very best Jethro Tull songs plus some songs from his new album Homo Erraticus. Expect classics like, extended plays of Thick as a Brick, Aqualung, Locomotive Breath, Bouree, Living in the Past and much more.
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Post by Gerrald Bostock on Jun 24, 2014 15:22:46 GMT
Great stuff and some wonderful publicity for the Group! This should be in the boxed set or in a magazine!! Ian I could not agree with you more !!!!
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Post by Gerrald Bostock on Jun 24, 2014 15:20:26 GMT
Thanks folks, and thank you also to all those guests who had dropped by to read it but did not comment here, but who did leave nice comments elsewhere, on various Facebook sites, Prog Ears, and Laufi's site. Thanks to Darin, Erin, Charlie and John who helped with questions big time, and especially Darin for the banner, thanks also to a few others who fed questions into the interview. Thanks to all those other Tull fan sites who supported links to it, that co-operation is very much appreciated. I had thought about only posting it in our members section for a time and then releasing it publicly, but I was rightly persuaded to put it straight out there. So, thanks again to Prog Ears and Laufi's site (via Ten Cars) for carrying it and to Ian Beabout and Ten Cars for spreading the word Huge thanks to Jane, who is still feeding a few extra pieces into it for me! I'll be updating the video sections soon. The box set will contain an interview with Jane, sadly not this one, it was offered but......... I'm sure the 'official' one will meet the needs of the release. Thanks to all. Pat you have done the Tull community a great service it is we the fans that should be thanking you for your excellent work. I am sure the others who helped will admit we had such a small role compared to what you did. Also hats off again to our "graphic in house artists" DC his work constantly amazes. Also to others such as Ian Beabout and 10Cars for sharing this piece. It is a shame this is not the interview used for the Box Set, after reading this they might have wished they did. Also a HUGE THANKS to Jane for her time, kindness and graciousness. Thanks Pat. I can't wait till June 30 for this release !!! I can only imagine what other goodies are in store.
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Post by Gerrald Bostock on Jun 23, 2014 13:09:15 GMT
INCREDIBLE
What else can be said of this piece of work Pat. This is simple put TOP NOTCH, so much information in here to digest. I am sure it will be a piece that will be read many more times. Thanks Pat, thanks Jane.
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Post by Gerrald Bostock on Jun 20, 2014 1:57:42 GMT
yes we were witnessed to a pretty damn amazing little concert, Darren is that damn good. I can only imagine how scary good he is with practice,,
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Post by Gerrald Bostock on Jun 16, 2014 13:16:55 GMT
from Amazon USA. The vinyl has been pushed back to August 5th
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Post by Gerrald Bostock on Jun 16, 2014 11:21:57 GMT
Here are some totally live tunes performed yesterday as part of a Fathers day gig
Deja Vu
Do you ever get the feeling That you have met someone before I get it with you
Every twist and every twitch I feel as if I have mentioned this before
Its’ just Deja Vu I get it when I am with you
When you catch my eyes Like I can’t describe It’s just Deja Vu
When were in bed Whatever we have just said Deja Vu
When I am with you
Do you ever get the feeling That you have been somewhere before I get it with you
Every twist and every twitch I feel as if I have mentioned this before Its’ just Deja Vu I get it when I am with you
When you catch my eye That feeling I hide Deja Vu
When were in bed And the temperatures red Deja Vu
When I am with you I get Deja Vu I get Deja Vu I get Déjà vu
Let me spend all of my days With You With You With You
Freeze Me
I close my eyes every time you speak to me Cos I realise this could spell the end for me If you decide that you have had enough of me I know there is something you can do
Why don’t you freeze me I know it will relieve me If you have had enough of me I know I can’t carry on
Later defrost me When you have had enough of me freeze me once again Cos I realise this could spell the end for me If you decide that you have had enough of me I know there is something you can do
Why don’t you freeze me I know it will relieve me If you’ll no longer see me I cannot carry on
Go on and freeze me Then later defrost me When you have had enough of me Then freeze me once again
So I close my eyes every time you approach me Cos I realise that it could spell the end for me If you decide that you have had enough of me There is something you can do
Why don’t you freeze me I know that will relieve me If you’ll no longer see me I cannot carry on
Go on and freeze me Then later defrost me When you have had enough of me Then freeze me once again
Ohhhhahh wooo Why don’t you … Ohhhhahh wooo
Why don’t you freeze me I know that will relieve me If you’ll no longer see me I cannot carry on
Go on and freeze me Then later defrost me When you have had enough of me Then freeze me once again
Yes or No
I like your face on these cold winter mornings I like it when you tell me I 'm being boring I like you cos your truthful ,your always truthful that is all I want
I like it when you say that you are leaving Slowly unravel the plot I've been weaving I llike you cos your honest,being honest that is all I want
So let me ask you now, because I really want to know Do you see me in your future yes or no ?
Got to ask you now , because I really got to know Do you see me in your future yes or no ?
But ,I like your stern frown when I am conceited I like it when you smash my ideas to pieces I like you cos your truthful ,your always truthful that is all I want
I like it when you say mind your own business I carefullly close any lip I have left with us I like you because your honest, being honest thats all I want
Always honest and that is all I want
So let me ask you now ,because I really want to know Do you see me in your future yes or no ? yes or no ? Got to ask you now ,because I really want to know Do you see me in your future yes or no ? yes or no ?
The Way Things Should Be
Another rainy afternoon, We walk outside, in and amongst the gloom, But you soon turn to me, We retreat to our sanctuary You say you'd like to meet my friends, Well Ok, but there aren't too many of them They're at arms length you see, You sigh and say 'That's not how things should be' How it should Be...
Since when did we, ever take heed- Of other people's beliefs about the way we should be? And if you really knew me, you'd know I never take heed, Of other people's beliefs about the way things should be When they apply them to me.
A coffee stain, a ruined vest, Can put my head into unrest, When I am in this state of mind, Forgive me if I am unkind, You say that I should call some friends, Well I would, but there aren't too many of them They're few and far between, You sigh and say 'That's not how things should be' How it should Be...
Since when did we, ever take heed- Of other people's beliefs about the way we should be? And if you really knew me, you'd know I never take heed, Of other people's beliefs about the way things should be When they apply them to me.
Who Am I to Talk ?
Hazel Groove
Let me tell you all about someone I knew All references henceforth under the pseudonym Hazel Groove When I think about her I just lose my way Was convinced I saw her in the precinct yesterday
Hazel Groove I was crazy about you It’s not as if you ever knew It’s not as if you ever knew Hazel Groove And what a sentimental mood Everytime I think of you Everytime I think of you Everytime I think of you
I am sorry to bore you with recurring themes But should I stick to reality Or should I just deal in dreams I won’t be switching my fiction for your Mathematics Any time soon I just wish that I had been more logical with you that afternoon
Hazel Groove I was once crazy about you It’s not as if you ever knew It’s not as if you ever knew Hazel Groove And what a sentimental mood Everytime I think of you Everytime I think of you Everytime I remember you Hazel Groove Everytime I think of you Everytime I think of you Everytime I remember you
Some Things Never Change
I don’t see you often or infrequently It’s better described as just occasionally But one things for certain One sad fact remains That you never seem to remember my name Though you never seem to remember my name Some things never change And now years have passed And you have moved far way There is nothing I could do to make you stay And as the world turns I am cascading away As I walk home alone in the rain As I walk home alone in the rain Some things never change Some things never change
21st Century Those dark desolate streets Gave you nothing but aching feet They are the cause of the cough in your lungs
Still close to the Early 90s You long for a summer breeze
As you gaze up to the sky But it’s devoid of sunshine So you gaze up to the street
Every stranger that you meet Has their eyes on a screen, or their feet
It’s the early 21st century !
What's Your Name ?
She sighted him in the adjacent room Dancing around to a god awful tune Has he appeared or been there all along In her mind repeats the familiar song
“If I just give up I will never Know I ‘ve only got the one chance after all And If I just give up then it will be a shame So What’s Your Name ?
What’s Your Name ? What’s Your Name ? What’s Your Name ? What’s Your Name ? What’s Your Name ?”
He sighted her somewhere on the top floor For the sixth or seventh time or maybe more Has she appeared or been there all along In his mind repeats the familiar song
“If I just give up then I will never know I only get the one chance after all And If I just give up then it will be a shame So What’s Your Name ?
What’s Your Name ? What’s Your Name ? What’s Your Name ?” What’s Your Name ? What’s Your Name ?
Misery Guts
Well I know we haven't spoken for a little while, So I'll write something happy for a change, And if you don't like it- well that's too bad, You always did say my songs all sound the same.
I may look a little different but I haven't changed, I've just accepted the inevitable, I'd really like to know just what you think of me, But I'm afraid that's rather predictable.
You think I'm just a...
MISERY GUTS! I'm at it again, But darling since I left you I've been uninspired and my songs all sound the same.
You know I'm just a... MISERY GUTS! Got love on the brain, But darling since I left you I've been uninspired and my songs all sound the same. (Yes they do) Oh yes my songs all sound the same.
All songs by Robert Davies All Rights Reserved 2014 Robert Lloyd Davies vocals
Alun Davies Bass
Preston, thanks for sharing some of Rob's video. It was great to see his work.
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Post by Gerrald Bostock on Jun 13, 2014 0:50:40 GMT
Grand Funk Railroad
An American blues rock band that was highly popular during the 1970s. Grand Funk Railroad toured to packed arenas worldwide. David Fricke of Rolling Stone Magazine said "You cannot talk about rock in the 1970's without talking about Grand Funk Railroad!" A popular take on the band during its heyday was that, although the critics hated them, audiences loved them. The band's name is a play on words of the Grand Trunk Western Railroad, a railroad line that ran through the band's home town of Flint, Michigan. In 1969, the band released its first album titled On Time, which sold over one million copies, and was awarded a gold record in 1970 In the same year, a second album, Grand Funk (aka "The Red Album"), was awarded gold status.The hit single "I'm Your Captain (Closer to Home)"was released in 1970. Also during 1970 they sold more albums than any other American band and became a major concert attraction. By 1971, Grand Funk broke The Beatles' Shea Stadium attendance record by selling out in just 72 hours. Veteran musician Todd Rundgren was brought in as producer for their two most successful albums and two No. 1 hit singles resulted: the Don Brewer penned "We're an American Band" (from We're an American Band) and "The Loco-Motion" (from Shinin' On, written by Carole King and Gerry Goffin and originally recorded by Little Eva). The album We're an American Band topped out at No. 2 on the charts. "We're an American Band" was Grand Funk's first No. 1 hit, followed by Brewer's #19 hit "Walk Like A Man". 1974's "The Loco-Motion" was Grand Funk's second chart topping single, followed by Brewer's #11 hit "Shinin' On". The band released the album All the Girls in the World Beware.This album contained the last two top ten hits, "Some Kind of Wonderful" and "Bad Time". In 1996, Grand Funk Railroad's three original members once again reunited and played to 250,000 people in 14 shows during a three-month period. In 1997, the band played three sold-out Bosnian benefit concerts. These shows featured a full symphony orchestra that was conducted by Paul Shaffer (from the David Letterman Late Show). The band released a live two-disc benefit CD called Bosnia recorded in Auburn Hills, Michigan. This recording also featured Peter Frampton who joined the band on stage. In 1998, after three years of touring, Farner left the band and returned to his solo career.Following Farner's decision to leave Grand Funk, nearly two years had passed when Brewer and Schacher recruited some well-regarded players to re-establish the band. Lead vocalist Max Carl (of 38 Special), former Kiss lead guitarist Bruce Kulick, and keyboardist Tim Cashion (Bob Seger, Robert Palmer) joined the two remaining Grand Funk members. In 2005 the band drew 20,000 people to their show in Albany, NY. In 2006 a Grand Funk show in downtown Orlando, FL drew 20,000 fans. In July 2011 the band drew 25,000 people to their Molson Canal Series Concert outside Buffalo, NY. en.wikipedia.org/wiki/Grand_Funk_Railroad Grand Funk Railroad continues to tour 40 shows a year and will kick off their "45 YEARS OF GRAND FUNK" tour January 25, 2014. AN AMERICAN BAND COMING TO YOUR TOWN.....
TOUR DATES FOR 2014 AND 2015 www.grandfunkrailroad.com/tour.htmlJune 14 Ho-Chunk Casino Wisconsin Dells Center, Baraboo, WI June 20 Old Town Ampitheater -Rock Hill S.C. June 21 Little River Casino Resort, Manistee, MI June 26 Jazz Aspen Snowmass, Snowmass Village, CO June 28 Sussex County Fairgrounds, Augusta, NJ June 29 Ridgefield Playhouse, Ridgefield, CT July 5 Del Mar Fairgrounds, Del Mar, CA July 12 Heartland Events Center, Grand Island, NE July 18 Moods Of The Madison, Ennis, MT July 19 Linn County Fair, Albany, OR July 25 Harborfest. Oswego, NY July 26 Mohegan Sun Wolf's Den, Uncasville, CT July 31 Riverfront Park, Albany, NY August 2 Prairie Knights Casino– Fort Yates, ND August 22 Benton Franklin County Fair, Kennewick, WA August 24 Rochester Down By The River, Rochester, MN August 28 Maryland State Fair Grandstand, Timonium, MD September 5 Thunder Valley Casino, Lincoln, CA September 11 Southeast Missouri District Fair, Cape Girardeau. MO September 12 Utah State Fair, Salt Lake City, UT September 20 Oklahoma State Fair, Oklahoma City, OK Ocotber 9 Grey Eagle Resort and Casino, Calgary. AB October 11 Quad-Cities Waterfront Convention Center, bettendorf, IA November 21 Stage 305@ Magic City Casino, Miami FL 2015 January 10,11 Orleans Hotel and Casino, Las Vegas, NV February 28 San Antonio June 6 Shawnee Bluff Winery, Eldon, MO Current members Don Brewer – drums, lead vocals (1969–1976, 1981-1983, 1996–present) Mel Schacher – bass guitar (1969–1976, 1996–present) Max Carl – lead vocals, guitars (2000–present) Tim Cashion – keyboards (2000–present) Bruce Kulick – guitars (2000–present) Former members Mark Farner – guitars, lead vocals, keyboard, harmonica (1969–1976, 1981–1983, 1996–1998) Craig Frost – keyboards, backing vocals (1972–1976) Dennis Bellinger – bass guitar (1981–1983) Howard Eddy, Jr. – keyboards (1996–1998) Discography
On Time (LP - 1969) Grand Funk (CD - 1969) Closer to Home (CD - 1970) E Pluribus Funk (CD - 1971) Survival (CD - 1971) Phoenix (CD - 1972) We're an American Band (LP - 1973) All the Girls in the World Beware !!! (LP - 1974) Shinin' on (LP - 1974) Born to Die (CD - 1976) Good Singin', Good Playin' (CD - 1976) Grand Funk Lives (CD - 1981) What's Funk? (CD - 1983) Thirty Years of Funk 1969-1999 (CD - 1999) Greatest Hits (CD - 2006)
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Post by Gerrald Bostock on Jun 10, 2014 15:47:33 GMT
Hello all! I know quite a few of you are big fans of the so-called Canterbury genre (bands like Hatfield and the North, Caravan, Soft Machine, etc), and I thought I'd direct you to this new documentary. The documentary is the third in the Romantic Warriors series (the first two were fantastic, highly recommended - particularly the second, on Rock in Opposition). The problem is, the filmmakers need some financial help with getting the thing finished. Below is a trailer to give you an idea of what it's all about; you can donate here: Ian thanks for the info !!!!!
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Post by Gerrald Bostock on Jun 10, 2014 11:52:31 GMT
www.blu-ray.com/news/?id=14188Jethro Tull's Ian Anderson: Thick as a Brick - Live in Iceland Blu-ray
On August 26, 2014, Eagle Rock Entertainment will release Thick As A Brick - Live In Iceland by Jethro Tull's Ian Anderson on 2CD, DVD, SD Blu-ray and digital formats. This is the first time Thick As A Brick and Thick As A Brick 2: Whatever Happened To Gerald Bostock? have been offered in a combined set, resulting in a superb presentation of the complete story of Gerald Bostock. Jethro Tull's famed concept album Thick As A Brick was originally released in 1972 and featured one continuous track spread across two sides of an LP telling the story of a young boy named Gerald Bostock. 40 years later in 2012, Jethro Tull's founder and leader Ian Anderson continued the story, with the creation of Thick As A Brick 2: Whatever Happened To Gerald Bostock?. Following this release, Anderson took both albums on the road to present the complete narrative live. This show, filmed in Iceland, brings Gerald's tale to life as never before and creates the definitive presentation of Thick As A Brick. Ian Anderson recently released the very successful solo album Homo Erraticus, and is currently on tour across Europe from June to September (full details at http://www.jethrotull.com). Underlining not only Ian Anderson's importance as a songsmith, Thick As A Brick – Live In Iceland also showcases this consummate live performer. TRACKLISTING 1) Thick As A Brick 2) From A Pebble Thrown 3) Pebbles Instrumental 4) Might Have Beens 5) Upper Sixth Loan Shark 6) Banker Bets, Banker Wins 7) Swing It Far 8) Adrift And Dumbfounded 9) Old School Song 10) Wootton Bassett Town 11) Power And Spirit 12) Give Til It Hurts 13) Cosy Corner 14) Shunt And Shuffle 15) A Change Of Horses 16) Confessional 17) Kismet In Surburbia 18) What-ifs, Maybes And Might-Have-Beens
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Post by Gerrald Bostock on Jun 8, 2014 1:45:04 GMT
GIPSY KINGS
Like them on Facebook www.facebook.com/thegipsykings
www.gipsykings.com/
It has been twenty-five years since the Gipsy Kings captured the world’s imagination with their self-titled debut album—a record that became a genuine phenomenon, certified gold and platinum around the globe, introducing millions of listeners to a unique, irresistible blend of traditional flamenco styles with Western pop and Latin rhythms. Since then, the band has toured virtually non-stop, to the farthest-flung corners of the planet, and sold almost twenty million albums, all the while retaining the same line-up of virtuoso musicians. Now the Gipsy Kings return with SAVOR FLAMENCO, their ninth studio album and first new release in six years. The project marks the first time in their storied career that the Kings have produced themselves and written all of the material. It also starts a relationship between France’s most successful musical group of all time and a new label, Knitting Factory Records. “Music has always been a passion,” says lead guitarist Tonino Baliardo. “Even after all this time, after all these years of touring and working. It has given us so much. We have matured, we have developed in music, and it has been so good for us.”
The band’s music has also remained visible over the years throughout popular culture. They recently performed their version of “Volare,” which was an international hit in 1989, on an episode of Dancing with the Stars. Their rendition of “Hotel California” was included in the film The Big Lebowski and on the HBO series Entourage. The 2010 film Toy Story 3 featured a Gipsy Kings version of the movie’s popular, Randy Newman-penned theme, “You’ve Got a Friend in Me."
25 YEAR HISTORY
Gipsy Kings -- Samba Samba
Celebrate the 25th Anniversary of Gipsy Kings!
Sat. June 28, 2014 Samois-sur-Seine, France, Festival Django Reinhardt Sun. July 6, 2014 Chipping Norton, UK ,Cornbury Festival Fri. July 11, 2014 Nice, France ,Nice Jazz Festival Weds. July 23, 2014 Marseille, France ,Theatre Silvain Thurs. July 31, 2014 Jurmala, Latvia .Havana Lounge Club Fri. Aug. 1, 2014 Jurmala, Latvia ,Comedy Club Wed. Aug. 6, 2014 Monte-Carlo, Monaco Sporting Summer Festival Fri. Aug. 15, 2014 Atlanta, GA ,Chastain Park Amphitheatre * Sat. Aug. 16, 2014 New Orleans, LA ,Saenger Theatre * Mon. Aug. 18, 2014 Kansas City, MO ,Uptown Theatre * Tues. Aug. 19, 2014 Denver, CO ,Denver Botanical Garden Amphitheatre Thurs. Aug. 21, 2014 Boise, ID Morrison Ctr. for Performing Arts * Fri. Aug. 22, 2014 Woodinville, WA Chateau Ste. Michelle Sat. Aug. 23, 2014 Vancouver, BC PNE Ampitheatre Sun. Aug. 24, 2014 West Kelowna, BC Mission Hill Family Estate Winery Weds. Aug 27, 2014 Saratoga, CA Mountain Winery Thurs. Aug 28, 2014 Rohnert Park, CA Green Music Center at Sonoma State Fri. Aug 29, 2014 Rancho Mirage, CA Agua Caliente Casino Sat. Aug. 30, 2014 Los Angeles, CA The Greek Theatre Sun. Aug. 31, 2014 San Diego, CA Humphrey's * Thurs. Sept. 4, 2014 Vienna, VA Wolf Trap @ The Filene Ctr. Fri. Sept. 5, 2014 Atlantic City, NJ Ovation Hall Sat. Sept. 6, 2014 New York, Ny, Beacon Theatre * Sun. Sept. 7, 2014 Bethlehem, PA Baker Hall, Zoellner Arts Ctr; Lehigh
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Post by Gerrald Bostock on Jun 5, 2014 23:14:52 GMT
very nice Kelpie..lots of Song titles in there
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Post by Gerrald Bostock on Jun 5, 2014 15:18:15 GMT
Homo Erraticus Review Posted on June 3, 2014 Revolutions Per Minute 90rpm.wordpress.com/2014/06/03/album-review-ian-anderson-wehomo-erraticus/ When they go on tour these days, most artists of Ian Anderson’s age might slot in a couple of new songs into their act, but mostly keep to a standard-issue “greatest hits” setlist. Anderson, clever fellow that he is, however, got audiences on his most recent tour to sit through a full hour of new material, by the rather brilliant stratagem of writing an album-length sequel to Thick as a Brick (entitled, creatively, Thick as a Brick 2) and then performing the two records back-to-back. And you know what? It was a really good record – no match for the original, certainly, but without question some of the best music Anderson has made since the late 70s. This year he’s at it again, offering a sequel to that sequel in the form of Homo Erraticus (2014) (and touring it, in toto, alongside a “Tull’s Greatest Hits” setlist, appropriately enough). The concept this time out—because there has to be a concept—is that these songs are based on a “dusty, unpublished manuscript, written by local amateur historian Ernest T. Parritt (1873-1928)” and “rediscovered” by none other than Gerald Bostock of Brick fame. It’s a pretty loose concept, but it does lend the album a sense of continuity and coherence, even as it affords Anderson the freedom to range across the entirety of British history, from pre-Roman times to the present and beyond. Musically speaking, longtime JT devotees may bemoan Martin Barre’s absence; and it’s certainly true that even Homo Erraticus‘s rockers are decidedly more staid than the likes of “Aqualung” or “Locomotive Breath.” But the band does a bang-up job of recreating the sound and feel of classic Tull, handling pastoral British folk (“Heavy Metals”), syncopated 70s prog (“Tripudium Ad Bellum”), and riff-heavy hard rock (“Cold Dead Reckoning”) with equal aplomb. As concertgoers know, Anderson’s voice is pretty battered after decades of use and abuse, but he’s in good form here, trading vocals (as he does live) with his young counterpart Ryan O’Donnell. Moreover, his lyrics are as good or better than ever. For him, British history is not so much as an inevitable march of progress as a revue of human foibles and frailties – a fact altered little by future prospects of technological utopia and and interplanetary exploration. As Anderson casts his eye back upon his homeland’s long and storied past, he invites his listeners to cast their eye upon his own musical history. Since the late 70s, he’s been something of a homo erraticus himself. But coming quick on the heels of the excellent Thick as a Brick 2, Homo Erraticus (the album that is) would seem to signal a late-career renaissance for Mr. Anderson. Let’s hope there are more old manuscripts collecting dust in his library – and that he’ll see fit to bring them into the light of day in the not-too-distant future. 8/10
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Post by Gerrald Bostock on Jun 5, 2014 12:45:56 GMT
Not exactly 8mm film, these are from a 1/2'' video tape taken at the Fillmore East December 1969. b2hammond, very interesting thanks so much. Those are great. Was that from the December 12th show? and if it was do you know if it was the first or second show. Again thanks for the snippets Charlie
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Post by Gerrald Bostock on Jun 3, 2014 18:25:55 GMT
:)More than that !!!!!!!!!!!
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Post by Gerrald Bostock on Jun 3, 2014 16:06:12 GMT
Oh boy. I considered not adding my opinion to this. In doing so, I feared I would be perceived as aligning myself with the trolls. I do not approve of the methods of the trolls - the way they have hammered away at people who disagree and fostered discontent is appalling. However, in a broad sense I do share their opinion, and the reason I am writing this is that I still think it is important to be able to speak one's opinion, and to make it known that a variety of viewpoints do exist. And so...deep breath: Not every Tull fan is a Martin Barre fan. I'm not, and it doesn't bother me that Martin Barre isn't playing with Ian Anderson any more. And if Martin comes to the USA on tour I would not be interested in seeing him. People on this board never knew me before TAAB2 came out, but, going back to 1979 when I first hard Tull, I have never been a fan of Martin. Martin's contribution means less than zero to me: and I shudder to think that makes me a sycophantic fan of IA. I am not, there are plenty of IA songs I don't like (half the new album, for example), but it is his songwriting, musicianship, lyrics and unique vision that made me a Tull fan. To be honest, I rate the contributions of the various keyboard players and drummers as more important to me than the electric guitar. I was disappointed when Andrew Giddings departed and I miss seeing and hearing Doane Perry on the drum stool. As far the electric guitar goes: Ian can hire Florian, or Kit Morgan (remember him?), or any Rent-A-Guitarist from Acme's Music Shop... it just doesn't matter to me. That's just a matter of taste, and I realize that I may be the only Tull fan who feels this way, but, once again, I feel it's important to be able to give voice to this opinion in a civilized matter. I do not judge anyone for loving Martin Barre's work, that would silly, and it is a shame that the trolls have turned a difference of opinion into a series of personal attacks. I have suffered them, from telephone lectures to anonymous crank phone calls made to my home (and these were for not liking Homo Erraticus enough - a person can't win sometimes no matter how hard he tries!). All of this for what - a difference of opinion in a rock band. I wonder if classical music aficionados resort to fisticuffs when they disagree over which violinist they like better... It's a sad state of affairs. And one of the reasons I am voicing my opinion here is that I truly believe I won't be given shit about it... If I am, then maybe it'll be time to "move on alone..." Martin comes across as a decent guy in interviews, very laid back, humorous, and thoughtful. I've never met him, but he might be the best person out of all of Tull to have a chat with, who knows? If he was badly treated by IA (and since we weren't in the room with them we may never know), then I feel badly about that. I wish him luck with his endeavors. But when it comes to the music, I am in IA's camp, and if he wanted to call his current band Jethro Tull, I would have no objections. But right now it's the Ian Anderson Band, and, as Shakespeare wrote: "A rose by any other name would smell as sweet..." -David That is well stated, Everyone is entitled to "their" opinion, it does not matter what people might think as long as their can be a civilized debate on a subject . Absolutely no need to have anyone's feathers to be ruffled. Sad when some have to resort to the harassing and being little prepubescent idiots who have to resort to these kind of acts. Just to try and influence someone, a sad world we live in when people resort to this. I am glad we can have differing of opinions and every side listens to each others points. Then draw an adult conclusion. Both sides of the story need to be told and then you can gain better perspective. I have no use for ANYONE who would resort to that, all for a difference of opinion.. David please always say what is on your mind, do not let others try and stifle your words.
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Post by Gerrald Bostock on Jun 3, 2014 15:09:56 GMT
IT IS GETTING CLOSER
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Post by Gerrald Bostock on Jun 3, 2014 13:45:49 GMT
Ok, this is far overdue. I should of posted this this Saturday morning. First off, this was the first time I ever went to any show where I knew none of the bands songs. I had not even heard of the Slambovian Circus of Dreams, Grand Slambovians or any of their other names. When I was doing threads of Anne Leighton's artists, is how I got to first hear of the Slambovian's. So in the section of when they were touring I came across that they were playing in my backyard..well not really (maybe if it was a folk festival they would), I decided to go. So in a mater of a few hours to never hearing their name let alone their music I had been Slambovianized. A fantastic show...If you get the chance, go see these folks, you will be glad that you did!! For a four piece band they had a much bigger sound from slide mandolin to the famous star trek instrument the theremin. Guitarist Sharkey McEwen is a multi talented guitarist and the only person I know of who plays slide mandolin. The drums and percussion was handled by Eric Puente. Tink Lloyd, Joziah wife is a multi instrumentalist who plays everything from accordion, cello, theremin and I bet anything else, is simply charming on stage, her banter with Joziah makes the show that much more enjoyable. Juziah Longo handles the vocals, his voice has been described as quirkier Tom Petty, and I can hear that but I think it is smoother. He also plays he guitar and along with Sharkey's guitar adds a richer and fuller sound. I loved his stage presence a great story teller and very quick witted. If you get a chance to see them it is really a magical show. Their music has been called avant-folk with a little Americana ballads to Pink Floydesque. They have a new disk out called "A Box of Everything" they played a few songs from this disk. I wish I knew all of their songs by title so I could give you a better list of what they played, but my apologies to the band for not knowing that. I am a very new member of the Slambovian Army. The tracks as I recall and in no certain order where Sunday in the rain,flap jacks from the sky,baby jane throw in some Ramones cover as well as Hurdy Gurdy Man and impromptu "Rocket Man" and two Slambovian sing alongs and you have a wonderful night of enjoyment. The Pink Floydesque came from their song Flap Jacks From The Sky.
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Post by Gerrald Bostock on Jun 3, 2014 12:20:09 GMT
I have certainly overstated my opinion on the matter here and there. Mostly (suprisingly) defending Martin's legacy in Tull and my own right to not be happy about the departure. Which I wasn't! I heard that Jethro Tull would be performing TAAB live (nearly a dream come true) Only to wait months with this dreaded countdown clock to tell us that actually Tull were no more! After a lifetime's investmant in both Ian and Martin it was important for me to express my feelings about it at the time. For that I was called a "whiner" and told that Martin Barre was a loser. The name debate in general was absolutley prolonged by the few who feel that others have NO right whatsoever to express these opinions in support of Martin. But really I think they just want to argue and insult for the kick. This is still going on YEARS later. I say respect everyone's opinion and let it rest. Don't try and be the Rambo of the chat community. You're not changing anyone's mind, certainly not mine. EVER! It's a childish & trolllike mentality and shows that you really don't have much else going on. I still enjoy reading honest opinions about it here, but the back and fourth elsewhere on the web, and constant insults to Martin after 45 YEARS and thousands of performances (playing his heart out for most) is nearly pathetic. I respect these great artists who have given me so much for a lifetime. The endless, ugly debates have divided the Tull community as never before. Erin, the fans who are fans of Jethro Tull know that Martin's legacy is secured. But there is a small amount of folks who now want to try and attack and throw mud at Martin, a sad state of affair IMO. Funny that up until 2 years ago they were the same ones on Martin's bandwagon. It is fine that some might like someone better then some one else, but it is rather small and petty when they attack. .. I guess it is best to "just consider the source" were this comes from..
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Post by Gerrald Bostock on Jun 3, 2014 11:39:09 GMT
....oh and by the way any era that has Ian Anderson is a good one!!!....
On Ian's worse day it is better 95% of what is out there today.
same to be said for any Jethro Tull era. Ian and Martin along with many other folks who are part of the Tull family simply blew everyone away.
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Post by Gerrald Bostock on Jun 3, 2014 11:35:37 GMT
If I could hop into a Tull Time Machine I would transport to the era from 69 to 75 (79). The 70's Tull were one of biggest bands in that era, easily breaking attendance records in many major cities around the world. It was also the time when Ian and the boys broke out of the underground scene and became "rock n roll" royalty. Having albums like Aqualung, TAAB, A Passion Play, Warchild put Tull on the radio everywhere in states and around the world, which in turn lead to a larger popularity. It also helped that these were rock solid efforts of the band. No one in the business did anything remotely close to Tull. I would also challenge what other band during the 70's put out on such a constant basis album after album that were so solid. Even after the media turned on Ian and folks after the 73 we quit BS, they still managed to reach the zenith of their career. The media had a field day bashing the band in print, but the fans still bought there albums and went to the shows. During the 70's it was very hard to find an empty seat during the time. That is a quick and brief over view of my opinion of the most productive time period for Jethro Tull.
Personally for me, going back to 1969 when they first came to the states, would of been ideal for me to have started my Tull journey. The first live shows I saw was in 1975. I would love to have seen all of the tours that I missed.... Oh to have a Tull Time Machine.
The next best thing is the video that Darin and Tulltapes have worked so hard to bring to us folks. Those snippets they have brought us are fantastic leaving us with the chant "we want more", and I am sure they will!!
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Post by Gerrald Bostock on Jun 3, 2014 1:21:18 GMT
This is my take on the Martin and Ian debate. Jethro Tull official stopped being "Tull" July 30 2011. Since that time there has been a lot water over the dam. The real reason why Martin and Ian are no longer doing music together lies entirely with Martin and Ian. They are the only ones who know exactly what has happened and until we hear if from them it is all speculation on our parts.
However with that said, it seems that there is some who keep wanting to fan the fire. It is a shame that some want to try and shout anybody down if they have a differing opinion than theirs. They try and shape the debate by yelling the longest and loudest thus taking away others opinion by shouting over them. A shame really as this is simply about a rock n roll band, hardly a life and death situation, but they want to make the debate seem that way
.Ian has never called these last two solo albums anything but the Ian Anderson Band with a tagline of plays Jethro Tull or Jethro Tull's Ian Anderson. As for Martin he uses the a tag line that also has Jethro Tull in it, but he is not calling it Jethro Tull. Ian himself has stated he wants to distance himself from using that moniker as he gets on with his solo career. It seems that there are only a small handful of people who want to call it "Tull". Which if they want to think it is so be it, they can call what they want, The sticky situation comes when they do not let others correctly state that is not "Tull". The go on attack mode and pounce on anyone who does not agree with them. In effect trying to shut down down others free speech. A shame really, if Ian changes his mind and decides to start calling his band "Jethro Tull" then it will be as far as I am concerned, but until he does the name is on haitus.
I have very rarely weighed in on the Martin and Florian debate. As I think both are fine players. Playing in two different era's and in two different bands with Ian in the center of both bands. When Ian was writing the material in Jethro Tull the group had much more freedom to do improvisations, it was a group effort. Most every interview Ian did until 2012 TAAB2 he always said they were group albums, but Ian changed that position in 2012 saying "he" did it all, they were still his babies. They might be, but without Martin I would have to bet they would sound very thin and not be remembered for the songs we hear today. They would be completely unrecognizable. Truth is the Ian made Martin and Martin made Ian, people will always say Ian would of found someone else, maybe so, but maybe we don't get albums like Songs From The Wood, Minstrel or Crest of Knave or even TAAB or A Passion Play. Martin allowed Ian to do those albums because Ian knew Martin's strengths and it worked for 40 plus years.
Florian is a fine guitarist as well, I think that Ian has limited Florian's playing in the last two albums, Ian says, here is the note play it this way, no room for improv, just the sound Ian wants. Which is fine if that is how Ian wants it to sound great. But Florian is kind of in a no win situation, I would bet he would just rather be the guitarist, and not hear all of this debate back and forth by some.
It is also a treat to hear Ian's new music, on first listen I did not have that opinion,the album has grown on me considerably. It seems to play well live which is also a good sign. The biggest complaint I have is there should be more instrumental, more acoustic guitar. I think that Florian should of been able to "play" more, some of his solo's almost seem formulated. I have heard part 2 of the show "the best of Jethro Tull", although they play it without a hitch, but it just does not sound right. It is missing Martin. Yes Florian tears up Aqualung and it is great it is not the same.
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Post by Gerrald Bostock on Jun 3, 2014 0:00:22 GMT
Anyone else have a notification today about the APP pre-order being available now as an MP3 download? Looks like it might not be the version you are looking for! Looks like it is the Remastered 2003 version.
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Post by Gerrald Bostock on Jun 1, 2014 21:04:37 GMT
Also from my personal footage, Chicago Stadium 1975, AKA "The Yellow Blob" footage, as you can see from the photo. B2 Hammond!!!!! This is Insane!!! Where have you been hiding this stuff. It looks incredible!!!! Hi B2Hammond first welcome and this is fantastic stuff
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Post by Gerrald Bostock on May 31, 2014 13:16:27 GMT
Ian, Thank you for put the link up. I was just going to do it and you beat me too it. A Great show, loved hearing Baker Street Muse and the cuts from Homo Erraticus.
Folks you if you have not checked out Ian's show you are missing 3 hours of great music!!!
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Post by Gerrald Bostock on May 29, 2014 15:47:46 GMT
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