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Post by Gerrald Bostock on May 28, 2014 14:38:14 GMT
THE SLAMBOVIAN CIRCUS OF DREAMS With influences including Bob Dylan, The Beatles, Pink Floyd, Jethro Tull, Frank Zappa, Todd Rundgren, and the marching bands in Philadelphia’s Mummer Parade, the Slambovian Circus of Dreams deliver a sound both strikingly familiar and excitingly new. As it’s title indicates, their debut for Red River, A Box of Everything samples each step along the Sleepy Hollow, New York-based band’s decade-and-a-half-long path. With songs from their independently released studio albums, A Good Thief Tips His Hat (1999), Flapjacks from the Sky (2004), The Great Unravel (2008) and The Grand Slambovians (2011), as well as previously unreleased tracks, they step forward as one of Americana’s most original ensembles. Despite several name changes since 1998 – Gandalf Murphy & the Slambovian Circus of Dreams, The Grand Slambovians – their infectious delivery has remained consistent. While Joziah Longo commands center-stage with his baritone singing, rhythm guitar and harmonica playing, and quirky songwriting, the sound is very much a group effort. Longo’s wife, Tink Lloyd, a classically trained keyboardist, provides inspiration for several songs, while summoning a tonal smorgasbord on accordion, cello, ukulele, melodica, Theremin and flute. Sharkey McEwen’s sonic-driven guitar and mandolin string bending propels each tune. Founding drummer Tony Zuzulu adds hard-edged syncopation to all but the title track and the bonus track, “Alligators,” played by Eric Puente. Each of Longo and Lloyd’s twin sons, Chen (bass, background vocals), and Orien Longo (piano, bass, background vocals), appear on three tracks. Paul Silverman (piano and calliope), Michael Polito (standup bass), and Rocky and Nikki Shiga (trombone and clarinet), add to the hook-laden, break-up, pop tune, “Very Happy Now.” Seth Gallagher plays uillean pipes on “Tink (I Know it’s you).” A Box of Everything has been a long time in coming. Performing in coffeehouses from the age of 12, Longo (who ran away from home at 16, and lived in a commune) has seemed destined for stardom – on his own terms. Moving to New York, he was offered a role in a production of stage musical, Pippin, and an opportunity to record with Pink Floyd’s producer – he turned them both down. Frontman of The Ancestors, a band that he formed, with Lloyd, in 1979, he played in Carnegie Hall with a seventy-two piece orchestra and became one of the first American bands to play in China. Spurning multiple offers to record for major labels, he (and Lloyd) disbanded The Ancestors, returned to school, and spent the next years studying art, graphics, and video design. Although they knew where they were heading, when they returned to music and formed Gandalf Murphy and the Slambovian Circus of Dreams (a name that Longo once told me they chose to keep major labels away), they have taken their time to get there. Weaving a good-spirited mix of musical influences, they spurned the world of commercial music and found a welcoming home among the contemporary folk, alt-rock, and Americana communities. With their first widely distributed release, their acclaim should spread even more. OUT ON THE ROAD May 30th, 2014 7:30 PM Center for Arts in Natick 14 Summer St. Natick, MA 01760 www.natickarts.org June 5th, 2014 8:00 PM The Ark 316 South Main St. Ann Arbor, MI 48104 www.theark.org June 6th, 2014 7:00 PM Old Town School of Folk Music 4544 North Lincoln Avenue Chicago, IL www.oldtownschool.org June 7th, 2014 7:30 PM Thrasher Opera House 506 Mill St. Green Lake, WI 54941 www.thrasheroperahouse.com June 26th, 2014 8:00 PM A Benefit for FTC & WPKN 89.5 FM Fairfield Theatre Co. - Stage One 70 Sanford St. Fairfield, CT 06824 www.fairfieldtheatre.orgOur very good friends at WPKN have asked for our assistance in a benefit for the station, with FTC on board as well. As a warm-up act we are pleased to announce another "good friend of WPKN" HAMELL ON TRIAL aka Ed Hamell. Here is is website: hamellontrial.com/ Here is a link to an interview on WPKN: archives.wpkn.org/bookmarks/listen/69361 June 27th, 2014 NY Faerie Festival 2195 State Route 79 Harpursville, NY 13787 www.nyfaeriefest.com June 28th, 2014 NY Faerie Festival 2195 State Route 79 Harpursville, NY 13787 www.nyfaeriefest.com July 11th, 2014 8:30 PM The Towne Crier Cafe 379 Main Street Beacon, NY 12508 845-855-1300 www.townecrier.com August 1st,2nd, 3rd 2014 Falcon Ridge Folk Festival Dodds Farm/44 County Route 7D Hillsdale, NY 06069 860-364-0366 www.falconridgefolk.comAugust 15th, 2014 6:30 PM WNTI/Centenary College present: Knowlton Township Outdoor Concert 15 Valley Street Columbia, NJ 07832 www.wnti.org August 22nd, 2014 The Potter's Shed 260 Industrial Blvd. Shell Lake, WI 54871 www.thepottersshed.com August 23rd and 24 2014 Porcupine Mountains Music Festival Winter Sports Complex 36606 Carp Lake Tower Road Ontonagon, MI 49953 800-344-5355 www.porkiesfestival.org/ October 4th, 2014 7:30 PM Six on the Square 6 Lafayette Park Oxford, NY 13830 607-243-6876 www.6onthesquare.org
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Post by Gerrald Bostock on May 27, 2014 11:54:34 GMT
Joe Deninzon and Stratospheerius Led by electric violinist/vocalist Joe Deninzon ( www.joedeninzon.com), who has been called “The Jimi Hendrix of the violin,” Stratospheerius ( www.stratospheerius.com) has showcased their “frenzied mélange of alt-bluegrass, progressive rock, jazz fusion and funkabilly” throughout the world. The New York-based group has opened for Tim Reynolds, Mickey Hart, and John Scofield, among many others. Their live performances are filled with funky dance grooves, rip-roaring guitar/violin jams, and hooks that mix jazz, funk, rock with Gypsy influences. Stratospheerius was a winner of the John Lennon International Songwriting Competition, and was named “Best Jam Band” in the Musician’s Atlas Independent Music Awards. They have been featured in Relix, Downbeat, and Jazziz, among other publications. The group has just completed their fifth CD, “The Next World…” on Steve Vai’s Digital Nations label. “…Violinist/singer Joe Deninzon presents us with this gift of hot songs from his rockin’ live shows. Think a bit of Zappa, the Dixie Dregs or Blues Traveler, with the violin being the focal point. Joe’s talents are flat out phenomenal, and the progressive rock tapestry he weaves around himself is carried out to perfection by his amazing band.” -www.musicmorsels.com “Deninzon shows how he has earned the nickname the “Jimi Hendrix of violin” as he tears threw a distortion heavy solo that points more in the direction of Guns N Roses’ Slash than Yo Yo Ma.” -Justin Scro www.cashboxmagazine.com“Memorable hooks, gravity-defying instrumental prowess and a kitchen sink move toward rock… If Bela Fleck and Frank Zappa had a love child in outer space, they might grow up to sound like these guys do.” -David Budin, www.coolcleveland.comThe Next World.. 1.Release05:06 2.The Missing Link04:14 3.Tech Support02:21 4.Climbing04:36 5.Fleshbot03:56 6.The House Always Wins03:09 7.Gods04:18 8.Ballad for Ding Bang04:33 9.Road Rage03:22 10.One Foot in the Next World04:34 11.The Prism05:48 available at Amazon,CDBaby and ITunes Discography
Headspace Live Wires The Adventures Of Stratospheerius Joe Deninzon & Stratospheerius Electric/Blue All are available at CDBaby and ITunes
UPCOMING SHOWS Friday, June 20, 2014 STRATOSPHEERIUS at OLIVE's in NYACK with GREG BYERS @ Olives 118 Main Street, Nyack, NY 10960 (United States) (845) 353-4377 Thursday, September 18, 2014 STRATOSPHEERIUS at the SHRINE @ Shrine 2271 Adam Clayton Powell Jr. Blvd., New York, NY (United States) The Prism Joe Deninzon and Stratospheerius Van Halen's ERUPTION
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Post by Gerrald Bostock on May 27, 2014 2:13:47 GMT
Ian Anderson at Shepherd’s Bush Empire THE UPCOMING www.theupcoming.co.uk/2014/05/26/ian-anderson-at-shepherds-bush-empire-live-review/ Monday 26th May 2014 Ian Anderson and Jethro Tull’s riveting performance last night at the Shepherd’s Bush Empire proved without a doubt that you are in fact never Too Old to Rock ‘n’ Roll. The famous track from 1970s was sung during the second half of a two-act concert that looked both forward as well as back at the band’s 40-year history. Like the pied piper himself, Ian Anderson’s fabulous antics on the flute hypnotised the audience with rippling, mysterious melodies as he darted about the stage or else balanced on one leg, in classic “Jethro” style, wielding his primary instrument as if he were free-wheeling on the electric guitar. The tour, with dates across England, is connected with the release of Anderson’s second solo album Homo Erraticus, an album that relates the life of the artist’s alter-ego Gerald Bostock, of which some of the stand-out tracks include Doggerland, The Turnpike Inn and The Pax Brittanica. The first half of the concert was a spectacular, beautifully played live version of the new album in its entirety, accompanied by a projection of curious medieval images flickering in the background, which enhanced the atmosphere created by the cult band’s trademark fusion of hard rock, folk music and blues. As always, the songs were theatrically “introduced” by way of the recitation of cryptic poetry – all supposedly written by the elusive boy-genius Gerald Bostock (AKA Ian Anderson) – and themed after key events in British history. The second half of the evening was a grand run-through of Jethro Tull’s greatest hits from the late 60s onwards. Beginning with 1969’s Living in the Past from their first big hit album Stand Up, the fans were then treated to, among others, rocking performances of Sweet Dream, the wonderfully trippy Teacher and Too Old to Rock ‘n’ Roll: Too Young to Die, before cranking out the classic Aqualung, and rounding up the night with Loco Breath. Despite their age, the music is still as beguiling and powerful as ever. Although the band’s unusual sound is perhaps not as universal as many of its more conventional counterparts from the Golden Age of Rock, Jethro Tull has nevertheless left an indelible mark on the face of rock-music history, and last night’s show was a reminder of exactly why. Mark Sempill Photo: Dena Flows
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Post by Gerrald Bostock on May 26, 2014 13:23:41 GMT
Renaissance renaissancetouring.comSymphony Of Light Renaissance have secured a distribution deal with Red River Entertainment, which now allows the new music of Renaissance to be heard worldwide. Grandine il Vento has been re-named Symphony of Light with three additional bonus tracks, ‘Immortal Beloved’, ‘Tonight’, and ‘Renaissance Man’, a song specially written by Annie Haslam and Rave Tesar in honor of the late Michael Dunford. The album has new artwork and design and the release date by Red River Entertainment is April 15th 2014. For the first time, the album and the new tracks will also be available for purchase and download in the iTunes music store. Symphony of Light is a testament to the unforgettable melodies and love that Michael Dunford infused into his work. Michael died prematurely in 2012 after this album was finished. The album starts off with powerful lyrics by Annie Haslam in the title track about the life of Leonardo da Vinci followed by Waterfall, a song written about the rainforests in Brazil. All the songs bathe the listener in flavors from far off countries, with lush orchestral arrangements and unusual lyrical content, with guest performances from Ian Anderson (Jethro Tull) and John Wetton (Asia). Renaissance is: Annie Haslam lead vocals, Rave Tesar keyboards, David J Keyes bass guitar, Jason Hart keyboards, Frank Pagano drums, Ryche Chlanda acoustic guitars TRACK LISTING 1. Symphony of Light 2. Waterfall 3. Grandine il Vento 4. Porcelain 5. Cry to The World 6. Air of Drama 7. Blood Silver Like Moonlight 8. The Mystic and The Muse 9. Tonight 10. Immortal Beloved 11. Renaissance Man 2014 Fall Tour
RENAISSANCE TOUR DATES (Stay tuned to www.renaissancetouring.com as more dates are announced.) October 23 Ridgefield Playhouse, Ridgefield, CT October 24 The Concert Hall, New York NY October 25 Keswick Theater, Glenside, PA October 30 The Center for Arts in Natick, Natick, MA October 31 Hart Theatre, Albany, NY November 1 Tupelo Music Hall, Londonderry, NH November 2 Narrows Center for the Arts, Fall River, MA Discography1972 Prologue Sovereign/EMI (UK); Sovereign/Capitol (USA) 1973 Ashes Are Burning Sovereign/EMI (UK); Sovereign/Capitol (USA) 1974 Turn Of The Cards BTM (UK); Sire (USA) 1975 Scheherazade And Other Stories BTM (UK); Sire (USA) 1976 ‘Live’ At Carnegie Hall BTM (UK); Sire (USA) 1977 Novella Warner Bros. (UK); Sire (USA) 1978 A Song For All Seasons Warner Bros. (UK); Sire (USA) 1978 In The Beginning EMI (UK); Capitol (USA) 1979 Azure D’Or Warner Bros. (UK); Sire (USA) 1981 Camera Camera Illegal (UK); IRS (USA) 1983 Time-Line IRS (UK); IRS (USA) 1990 Tales Of 1001 Nights (Parts 1 & 2) Warner Bros (UK); Sire (USA) 1995 Da Capo Repertoire (Germany) 1997 ‘Live’ At The Royal Albert Hall (Parts 1 & 2) King Biscuit/BMG (USA) 1997 Songs From Renaissance Days HTD (UK); King Biscuit/BMG (USA) 1999 BBC Sessions Wounded Bird (USA) 2000 Day Of The Dreamer Mooncrest (UK) 2000 Unplugged ‘Live’ At The Academy Of Music Mooncrest (UK) 2000 Tuscany Toshiba EMI (Japan); GEP (UK & Europe) Friday Music (USA) 2002 In the Land of the Rising Sun ‘Live’ in Tokyo Toshiba EMI (Japan); GEP (UK & Europe) Friday Music (USA) 2009 Dreams And Omens ‘Live’ at the Tower Theatre Friday Music (USA) 2010 Scheherazade And Other Stories • Friday Music (USA) 2010 The Mystic and The Muse •Hybrid Recordings (USA) 2013 Grandine il Vento renaissancetouring.com/tour/
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Post by Gerrald Bostock on May 26, 2014 12:56:10 GMT
Jann Klose jannklose.com/“Mosaic represents his most promising effort yet, an album chock full of instantly accessible melodies and, by turns, genuine pop appeal … The fact that he’s capable of crafting angelic ballads like “Still” and “On and On,” and irresistibly upbeat entries such as “Four Leaf Clover” and “Falling Tears,” makes it clear he has the necessary skill to manipulate emotions. Likewise, his solemn and yet soaring take on Tim Buckley’s “Song to the Siren” demonstrates a certain savvy that’s all too rare, knowing how to retain the imprint of the original while interpreting it in such a way as to make it wholly his own.” – Lee Zimmerman, Blurt Magazine MOSAIC
1. Make It Better 2. Know What's Right 3. On and On 4. Still 5. Long Goodbye 6. Falling Tears 7. Four Leaf Clover 8. Beautiful One 9. The Kite 10. Song to the Siren JANN KLOSE - " MAKE IT BETTER" Florian helps out with this track as well "LONG GOODBYE" JANN KLOSE - "TOUCH ME' On Tour:
May 31, 2014 - Park Ridge, NJ: Acoustic Cafe Concert Series w/ Toby Walker June 6, 2014 - Youngstown, OH: Private Event June 7, 2014 - Bloomington, IN: Oliver Winery June 21, 2014 - Baiting Hollow, NY: Baiting Hollow Farm Vineyard July 2, 2014 - Woodbridge Township, NJ: Woodbridge Wednesdays at Parker Press Park w/ Sloan Wainwright July 9, 2014 - Bronx, NY: Sunset Wednesdays at Wave Hill Park July 12, 2014 - New York, NY: Rockwood Music Hall Stage 2 July 17, 2014 - Amagansett, NY: The Stephen Talkhouse August 9, 2014 - Berlin, Germany: The Castle Pub August 15, 2014 - Braunschweig, Germany: Unplugged Bistro August 16, 2014 - Hamburg, Germany: Prinzenbar w/ Jens Boettcher August 22, 2014 - Muelheim an der Ruhr, Germany: Muelheimer Lesebuehne August 23, 2014 - Kiel, Germany: Prinz Willy Strandfest Open Air August 28, 2014 - Bokholt-Hanredder, Germany: Wohnzimmerkonzert September 19, 2014 - Newton, NJ: Newton Theatre w/ Paula Cole January 30, 2015 - Tehachapi, CA: Fiddler’s Crossing
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Post by Gerrald Bostock on May 25, 2014 23:44:57 GMT
A BIG BIT OF NEWS:: Anne Leighton has a "Away With Words" she is working with Martin Barre, hoping to get him at least one tour per year in the States. Anne says, "Ian is in total support of Martin's activities." More to follow!!!
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Post by Gerrald Bostock on May 24, 2014 14:55:48 GMT
Very nice review of the show Preston. I think everyone should give this a look. A spot on review.
It is refreshing to note that Ian and crew, are not "Too Old To Rock n Roll, as evident in this show.
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Post by Gerrald Bostock on May 24, 2014 13:24:07 GMT
ULTIMATE GUITAR.COM Jethro Tull Frontman Interested in Metallica Collaboration: 'But Don't Expect Me to Come to America for It' www.ultimate-guitar.com/news/general_music_news/jethro_tull_frontman_interested_in_metallica_collaboration_but_dont_expect_me_to_come_to_america_for_it.html?no_takeoverJethro Tull's 1989 Grammy Awards triumph over Metallica in the Best Hard Rock Recording category has become a thing of legend quite some time ago as one of the funniest and most embarrassing decisions of the prestigious institution. But back to today, Tull frontman Ian Anderson was asked about the possibility of doing an actual collaboration with metal giants, and he's up for it. "If Metallica got on the phone or sent me an email asking me to play on a track, I would say, 'Yes, but don’t expect me to come to America to do it,'" Ian told Rock Music Star. "I would tell them to send me a rough mix and tell me where you want me to play and give me some vague verbal description of what you are looking for, and let me loose. "I'll do it and send it back to you," he continued. "If you like it, use it, and if you don't, just delete the file. No charge, no expectation, no damage done if you feel that it doesn't fit. Those are the terms that I always use when playing with other people. I never accepted a fee or a royalty from anyone in which I played on their record. It's something that I only do because I want to do it, because it is a challenge and I'm pleased and honored to be asked by musicians whether they are famous or not. Rounding it up with a firm stance, Anderson added, "But, I can also say no too. I'm not prostituting myself. I'm not a musical hooker doing it for the cash. I don't give flute blowjobs." Ian Anderson's latest solo release, "Homo Erraticus," saw its release on April 14 via Kscope.
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Post by Gerrald Bostock on May 23, 2014 18:38:44 GMT
It was a great show, Thanks Ian
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Post by Gerrald Bostock on May 23, 2014 16:11:57 GMT
A Big HAPPY BIRTHDAY to Erin. he turned XXX !!!! Enjoy the day buddy
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Post by Gerrald Bostock on May 22, 2014 20:04:52 GMT
Hi Marcie, I hope the West Coast swing goes well for you and Paul.
Charlie
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Post by Gerrald Bostock on May 22, 2014 16:10:11 GMT
Yes a big thank you to David for the great clippings..
There are so many more items I have to add to Manaual, been side tracked with this adventure
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Post by Gerrald Bostock on May 21, 2014 15:39:51 GMT
yummy... I bet the bakery was busy with these..
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Post by Gerrald Bostock on May 20, 2014 23:39:15 GMT
Have you ever wondered how IA and Tull will be judged by future generations? Will this music be remembered at all? Will Tull be represented only by "Aqualung" and "Locomotive Breath?" (boo!) Will some of the REALLY great IA songs have a chance of surviving into the future? Will IA and the band be viewed with respect or derision? Or will it all be forgotten? Not a fair question, since none of us will around to see if we're right or wrong, but your opinions are welcome, nevertheless! -David Well I think that Ian's music will have a long shelf life. He will always be much more attached to Jethro Tull than his solo period of time. The string of albums from 70 to 80 was probably some of the most thought provoking music in the world of "Rock" music. I do think that albums such as TAAB and Passion Play will gain more respect as time goes on. I think Ian will always have his critics good or bad but I think he will have a fair mount of respect. ....we need a Tull Time Machine to find out
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Post by Gerrald Bostock on May 20, 2014 15:57:48 GMT
what do you think:
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Post by Gerrald Bostock on May 19, 2014 16:34:27 GMT
Yes a GET WELL SOON Kurt !!
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Post by Gerrald Bostock on May 17, 2014 17:31:13 GMT
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Post by Gerrald Bostock on May 17, 2014 11:48:35 GMT
Shelley Archives Presents Legends of Rock Live JETHRO TULL (1969-1980) Legends of Rock Live with "Jethro Tull 1969-1980," Avon Theater, 272 Bedford St., Stamford. Wednesday 7:30 p.m. Free carte blanche, $6 members, $8 students, seniors, $11 nonmembers. 203-967-3660 ext. 2, www.avontheatre.org. Hosted by Music Archivist Bill Shelley Wednesday, May 21 at 7:30 p.m. Carte Blanche: FREE | Members: $6 | Students/Seniors: $8 | Nonmembers: $11 ABOUT THE PROGRAM: The British band Jethro Tull began in 1967 playing experimental blues/rock, mixing in classical influences, jazz, and folk. American audiences became fans of the band with “Living in the Past,” “Teacher,” and “The Witches Promise.” All three of these songs will be included in this program’s salute to the band, along with “Aqualung,” “Thick as a Brick,” “Songs from the Wood,” “Too Old to Rock and Roll, Too Young to Die,” “Bungle in the Jungle,” “Skating Away,” and many more. With the addition of guitarist Martin Barre, Ian Anderson found the perfect partner to complement his flute playing and create their unique style and sound. Their music is driven by both its melodies and lyrics, with material drawn from Celtic mythology. Ian Anderson, the talented leader who plays flute and acoustic guitar has a quirky personality that engages his audience in the drama of each song. An example of his sense of humor can be seen in his explanation of how the band got its name: “Back in February, 1968, we had many different names which usually changed every week, since we were so bad that we had to pretend to be some new band in order to get re-booked in the clubs where we aspired to find fame and fortune. Our agent, who had studied History at college, came up with the name Jethro Tull (18th century English agricultural pioneer who invented the seed drill). That was the band name during the week in which London’s famous Marquee Club offered us the Thursday night residency. So it stuck. Is it too late to change? I thought so.” The group has sold more than 60 million records worldwide. This program will bring you on a film clip journey of performances from TV, live concerts, and promotional materials. In English | 110 minutes ABOUT BILL SHELLEY: Bill Shelley has been filming since the 1970s when he recorded bands Twisted Sister and Joan Jett and the Blackhearts, then later directed music videos for Public Enemy (PE). Shelley Archives was started in 1985 and today the company has over 100,000 reels of original 35mm and 16mm films in its archives and over 10,000 hours of rare concerts, television shows, promos, interviews, out-takes and home movies. Preservation of films and music clips is the main focus of the organization.
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Post by Gerrald Bostock on May 14, 2014 19:38:10 GMT
Well yes a BIG THANKS to Jane for signing these and thanks Pat for the special delivery last October of the 2 different versions. and bamboflute (David K) displaying the other version..
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Post by Gerrald Bostock on May 12, 2014 19:31:51 GMT
I must say after multiple listens my opinion of HE is changing, although there are 2 tracks I would remove completely track 3 Enter The Uninvited and track 14 Per Errationes Ad Astra. Enter The Uninvited started off really nice and at 57 seconds went away for me. I would loved to of heard this as a just an instrumental. For me it was really a distraction and it just did not work. It was really strong the music was taking me on a journey and then the lyrics kick in, IMO I just do not get in to Pizza Palace , Gi Joes, and the rest of the lines through out the song or the style in which Ian sings it rappish style. I wonder how good the song would be as just an instrumental, that is what I would of done leave it an instrumental. The other song I would just eliminate would be track Per Errationes Ad Astra. I really did not like the "churchish" feel this had and I really did not like the spoken voice style and the words again did nothing for me. That said 2 weeks ago I disliked a lot more, I am changing my opinions of this disk. It was easy to say what I did not like so I will do this in a few parts. My initial rating of 2 star disk is moving up to 2.75 with a bullet.
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Post by Gerrald Bostock on May 11, 2014 18:17:30 GMT
DAILY RECORD Scots flautist Ian Anderson on successful career as leader of Jethro Tull and why he'd be sad to see the end of the union By Rick Fulton www.dailyrecord.co.uk/entertainment/celebrity-interviews/scots-flautist-ian-anderson-successful-3515199THE 66-year-old, who is famous for playing the flute on one leg, talks passionately about his homeland and the impending independence referendum. HE is arguably the world’s most famous flautist – and yet Ian Anderson doesn’t think he’s that good. The 66-year-old Scot and leader of Jethro Tull is famous for playing the flute on one leg. He and his band have been name-checked in television shows including Breaking Bad, The Simpsons and Life of Mars, as well as films such as Anchorman: The Legend of Ron Burgundy and Almost Famous. But, as he prepares to play his homeland again for four shows, Ian said: “I’m certainly not the best flute player in the world – just arguably the loudest.” Jethro Tull, who in the 60s opened for Jimi Hendrix and starred in the Rolling Stones film Rock and Roll Circus, were a massive act in the 70s, scoring six top 10 albums in America, including two No1s – Thick as a Brick and A Passion Play – plus a UK No1 in 1969 with Stand Up. Their classic 1971 album Aqualung sold seven million copies worldwide. Interest in Ian, as the television shows attest, hasn’t dimmed over time and, since claiming an end to Jethro Tull, his solo album, Homo Erraticus, went to No14 only last month. While Sir James Galway is the best known classical flutist, Ian made the instrument something cool to play in the rock world. But while Sir James is known for his solid gold flute, Ian is less pretentious. He said: “The flutes I play are advanced student model flutes. They are certainly not James Galway’s solid gold, diamond-encrusted ones. “In most capital cities you can find the flute I play. My flute is the kind that if you were thinking of turning pro, it’s that flute. And, yes, I’m thinking of turning pro.” Ian was born in Dunfermline and moved to Edinburgh with his family when he was five. He will be returning to his childhood haunts on May 18 when his current live tour comes to Edinburgh’s Festival Theatre. He is also playing Perth Concert Hall on May 19, Aberdeen Music Hall on May 20 and Inverness Eden Court on May 21. Ian said: “I have one day off when I’m in Edinburgh. “I’m going to see if there is still a hole in the wrought iron railings down in Roseburn where I can crawl through and walk along the side of the waters of Leith, which as a child I did. “It was completely forbidden, of course, but there was a hole there. “I might not fit through it now, though. It was a tight squeeze at the time.” It will be the first time in many years that he’s been back to visit those streets he walked during his childhood.He did visit Dunfermline a few years ago with his surviving brother (his other died of colon cancer, prompting Ian to have yearly check-ups) to look at the houses his parents lived in. It was a mixed bag of emotions. He said: “It was a bit of a grey experience. These are probably homes lived in by a succession of owners since then. It’s their house.“It may have been where I was born or spent the first few years of my life but it’s someone’s else’s house. I always feel there’s a sadness and detachment. “It almost allows you to let go of something and puts it in a more healthy perspective. It’s not that I don’t care but, just because it’s somewhere my parents lived for a few years, it shouldn’t be that special somehow.”As well as being a Scot who found fame around the world, he also returned here to run a successful salmon farm business based at his former estate Strahaird on the Isle of Skye. Turning over £12million a year in the late 90s, it employed 400 people before he sold it in 1994. He soon realised that if things went wrong with the business, he could lose anything, so he sold off parts of the company, getting out without losing anything but not making anything, either.Talking of this and his childhood in Scotland leads Ian into a lengthy discussion about the upcoming independence vote.Like many Scots who have moved away, he feels aggrieved that, despite being born here and being an employer for many years, he has no say in the direction of Scotland’s future. He said: “Alex Salmond was being interviewed by Gavin Esler who, like me, is from Edinburgh. “Gavin said to him, ‘I’m a Scotsman, what do I have to do to be able to vote?’. Salmond said, ‘Buy a hoose’.”Ian almost spits out the sentence. For him, it comes down to a utility bill. He points out that, by the end of his fish farm business, many of his workers didn’t speak English, yet they would be eligible to vote.But someone born and raised in Scotland but not living here now is not. Ian added: “It strikes me as a little odd that, with a long history of working and providing a little employment, I’m not eligible to vote. “Me and others like Gavin carry the Scots flag in our hearts.“We don’t have to wave it about and do this nationalism thing.“We know who we are. We’ve long had a union with the rest of the British isles, which personally speaking I’m sad to lose.“I’m not telling people how to vote but I’ll be sad if that happens.“I had a Scottish father and an English mother. I’m a Brit. I see myself as a product of that union, literally because of my parents.” Ian has recorded Harry Lauder’s A Wee Deoch an’ Doris for a new album of Scottish songs.He has rewritten the second verse of the famous nightcap song to talk about the potential end of the union.Ian said: “I’m expressing sadness in a farewell drink at the door kind of a way. The producer won’t release it until after the vote, as he doesn’t want to get involved.“I, on the other hand, feel that if it focuses on the enormity of what they are voting on, releasing it would be a good thing.“I’m not telling people how to vote, I’m just asking people to think.”Ian isn’t brooding. There is always a matter-of-fact way about Ian, who has taken chances and found luck throughout his life. His first instrument was a plastic ukulele bearing Elvis Presley’s autograph before getting a proper acoustic guitar aged 15.By this time the family had moved again, to Blackpool, and the young Ian wanted to be in a band. One group were looking for a bass player, so he traded his guitar for a bass. He found the original members of Jethro Tull in the seaside town before they moved to London in 1967.He turned to the flute after giving up on being a guitarist, as he realised he’d never “be as good as Eric Clapton”.It was a lucky move that gave him something different that the other big bands of the 70s didn’t.His habit of standing on one leg has become an iconic part of rock’s history – an instantly recognisable (and copied) image. This year, he revealed he was now going to release music under his own name but he’ll always be Jethro Tull to his fans. He said: “Jethro Tull is not a big legend like the Rolling Stones or The Who or Led Zeppelin or Pink Floyd. “We are a minor legend in second or third rank. It’s a good place to be. “You aren’t always being held up for ridicule when someone wants to have a go at prog rock or old rock musicians. “They have others they can pick on before me.”
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Post by Gerrald Bostock on May 11, 2014 18:02:46 GMT
SUNDAY EXPRESS Ian Anderson's Scottish vote song delayed to avoid controversy www.express.co.uk/news/showbiz/475014/Ian-Anderson-s-Scottish-vote-song-delayed-to-avoid-controversy Folk rocker IAN ANDERSON has recorded a song to mark the upcoming independence vote in his native Scotland, but his producer has refused to release it until after the ballot takes place. Scots are due to go to the polls in September (14) to vote on whether the country should break away from the United Kingdom to form an independent nation. Former Jethro Tull frontman Anderson has recorded a cover version of traditional Scottish song A Wee Deoch an' Doris to mark the occasion, but a studio producer is holding it back until after the election as he doesn't want to be accused of influencing the vote. Proud Scot Anderson tells the Daily Record newspaper, "(In the song) I'm expressing sadness in a 'farewell drink at the door' kind of way. The producer won't release it until after the vote, as he doesn't want to get involved. I, on the other hand, feel that if it focuses on the enormity of what they are voting on, releasing it would be a good thing. I'm not telling people how to vote, I'm just asking people to think."
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Post by Gerrald Bostock on May 11, 2014 14:01:31 GMT
You are in charge of everything about Homo Erraticus. What would you do?
Possibly a different running order of the tracks. Or even eliminating some of the tracks. Have some totally new tracks in place of some of the exiting tracks. Change the mix of the album to bring the instruments out more in the front of the mix. Add instrumentation in or in certain parts of a song. Eliminate vocals or a lyrical line or change a chorus.
What are the strong points and the weak points to the release.
It is your cup of tea to tweak, to alter or even add or subract.
Or would just leave alone as it is.
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Post by Gerrald Bostock on May 11, 2014 13:50:48 GMT
Well I think Ian has plenty of garden space to grow any thing he wants. A beautiful estate. Hey maybe he will have a private concert for oh say a couple of thousand of his favorite fans out in the yard.
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Post by Gerrald Bostock on May 11, 2014 11:40:24 GMT
SPUTNICK MUSIC Ian Anderson Homo Erraticus 3.5 www.sputnikmusic.com/review/62238/Ian-Anderson-Homo-Erraticus/Review Summary: Tull...Tull never changes. When you've been making music for over 50 years, you kind of find your groove and stick to it. It would be wrong to call Ian Anderson's new album Homo Erracticus adventurous because it sounds very much like a Jethro Tull album. Specifically, it sounds similar to Crest of a Knave with its heavier guitar distortion and Ian Anderson's lower pitched voice. However, that's not a bad thing at all. Part of the reason that Jethro Tull's popularity waned was because they deviated from a formula that clearly worked. Jethro Tull fans need not fret. Even though the group is no more, Homo Erraticus is basically a Jethro Tull album only with no Martin Barre. In spite of the lack of Tull's long serving guitarist, the instrumentation is as strong as ever. Ian Anderson signature flute is always a welcome sound for Jethro Tull fans and he delivers some pretty superb flute solos and melodies. However, that isn’t to say that he is only star of the show on the instrumental front. The Thick As A Brick 2 lineup returns for this album and they are even better on this album than they were on the previous one. Guitarist Florian Ophale delivers solos and fills that could give Martin Barre a run for his money. The opening track “Doggerland” and “After These Wars” are the most notable instances of some exceptional guitar work. Meanwhile, John O’Hara’s keys form the backbone of several melodies and they do not disappoint. Wrapped together by a solid if unremarkable rhythm section, Homo Erraticus makes for one of Ian Anderson’s best composed albums in a long time. Even some of the weaker tracks on the album are still supported by strong melodies that make the album an entertaining listen from beginning to end. Ian Anderson’s voice is also still up to par showing that while he might be aging, Anderson still has preserved his unique voice that made Jethro Tull such a standout in their prime. It’s a good thing that his vocals are still strong, they do good to cover some not so good lyrics. The biggest stumbling block for Homo Erraticus is its lyrics. While they are not horrible or groan worthy, they unfortunately are not all that engaging. Homo Erraticus is a concept album that continues on the story of Gerald Bostock of Thick As a Brick and its sequel. Except is doesn’t, not really anyway. The concept is, according to the website, that the former child poet wrote the lyrics to the album after stumbling across a book that contains the complete history of England written by an amateur historian after a malarial fever dream that had him entering the lives of several figures in British history. The historian also received visions of the future that tell of how humanity will eventually run out of space and resources until an alien warning leads them to a brighter future. If that concept sounded hard to follow, the don’t worry, it’s just as hard to follow within the lyrics itself. Given that it expects to cover the past, present, and future of the British Isles in 15 tracks with a 51 minute running, this gives the album a very compressed feeling. For the most part, the album hardly gives enough time for most of the events in history to develop, making the lyrics feel more like Ian Anderson is simply reading the cliff notes of an Encyclopaedia Britannica. The track “Enter the Uninvited” suffers the worst lyrically, as it essentially boils down to Ian Anderson singing a list of things that are not entirely related to the overall topic of the song. However, Ian Anderson has always approached lyrics with his tongue firmly in cheek so it’s not expected of the audience to take the lyrics too seriously. However, compared to some of Anderson’s previous outings, even his last album Thick As a Brick 2, it’s clear that this is not his best work lyrically. Even with this compressed feeling lyrically, the album somehow still manages to have filler. The tracks “Heavy Metals “, “In For a Pound”, and “Per Errationes Ad Astra” are all less than two minutes long and have such little substance that they feel wholly unnecessary to the album as a whole. “Tripudium Ad Bellum”, while a strong instrumental, seems to cut off before it can really get going and it ends up feeling that it could be part of the next track “After These Wars.” While these faults keep the album from being truly great, they do not drag the album into mediocrity. When the album’s on point, it delivers some very fine tracks. The aforementioned “After These Wars” is probably one of the most focused tracks lyrically, about (obviously) post World War England, as well as having a fantastic guitar solo that really makes it one of the highlights. The opener “Doggerland” is also amazing with a classic Jethro Tull blend of acoustic and electric guitar and some fancy organ work to satisfy key enthusiasts like me. The real standout track is “Puer Ferox Adventus” which harkens back to Jethro Tull in the early seventies as it rolls along at a slow pace, delivering an entertaining interpretation on the spread of Christianity throughout England with a killer vocal performance from Ian Anderson. In spite of some flaws, the good of Homo Erraticus overshadows the bad to make an entertaining album for Jethro Tull fans. It might not try anything terribly new, but that does not detract from the quality. We might not have any new Jethro Tull albums, but Homo Erraticus shows that Ian Anderson is just fine all on his own.
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Post by Gerrald Bostock on May 10, 2014 15:49:42 GMT
YORK PRESS Ian Anderson Plays Jethro Tull (and Homo Erraticus), Grand Opera House, York, May 15 Ian Anderson . www.yorkpress.co.uk/leisure/music/11201218.Ian_Anderson_Plays_Jethro_Tull__and_Homo_Erraticus___Grand_Opera_House__York___May_15/.. Ian Anderson tells Charles Hutchinson about the surprising survival of Prog rock, while also introducing some of his assorted characters he puts into his songs. ON the one hand, Jethro Tull's Ian Anderson has just won the Prog God Award from Prog magazine. On the other, time never stands still for the fleet-footed, flute-playing frontman, whose new solo album Homo Erraticus is a "folk-rock-prog" concept album that considers our past and future British history. The record entered the charts at number 14 on April 23, another notch on a five-decade career marked by more than 60 million album sales. New and old come together on his 21-date spring tour that visits the Grand Opera House, York next Thursday, when Anderson and his band showcase the entire Homo Erraticus and dust down Jethro Tull numbers too in a 7.30pm performance "illustrated by video and theatrical settings". Let's head to the Prog God Award first, surely a fitting honour for the 66-year-old Ian Scott Anderson MBE, musical son of Dunfermline. "It's kind of rewarding in a way that this magazine [Prog] still exists and people keep it going, so it's the duty of the musicians they write about to support their grand efforts, by going along to the award ceremony," says Ian. "We've got to play the game and smile and give it some credibility, because for the magazine, it's vital to be taken seriously – though the award has to be slightly tongue in cheek because anyone involved in prog rock knows that there's a self-important element to it. "After only two years as 'progressive rock', it became 'prog' in 1972 and nails started being knocked into the coffin until punk effectively killed it off at that time, though in reality it didn't. But we have to expect a little poke in the ribs and in that respect we're the pantomime dames of our generation: a little bit kitsch, a little bit silly, but underneath you can be a killer in a bad mood. It's a very good way to seduce people into listening to you making semi-serious points." Anderson is making points, both serious and semi-serious, on Homo Erraticus, a concept album with its roots in Jethro Tull's 1972 concept album, Thick As A Brick, the one based on a poem by child prodigy Gerald Bostock. In 2012, as fans wondered whatever happened to Bostock, Anderson explored the different paths his life might have taken in Thick As A Brick 2; in 2014 enfant prodigy Gerald is back for real in Homo Erraticus. After 40 years in politics, Bostock reunited with Anderson to take the role of tour manager on a string of shows. Homo Erraticus marks his return to songwriting and is based on an unpublished manuscript by amateur historian Ernest T. Parritt (1865-1928). In Homo Erraticus, Parritt examines key events of British history with a string of prophecies stretching to the present and the future. Visions of past lives caused by the delirium of malaria generate the characters through whose eyes the stories are told, such as a nomadic Neolithic settler, an iron Age blacksmith, a Christian monk, a turnpike innkeeper and even Prince Albert. It is important to point out that the last three paragraphs were a concept, not a reality. Everything comes from the fertile mind of Anderson – Bostock, Parritt, the turnpike innkeeper – on an album divided into Chronicles, Prophecies and Revelations. "Back in 1972, Gerald Bostock was a fictitious child poet who wrote the lyrics to Thick As A Brick, though he didn't write them. I did! It 's the tool of the writer, the nom de plume, to say things that I couldn't; to talk about issues as controversial as migration and immigration," says Ian. "Most of our invaders are not unwelcome, just as when we went venturing across the world, we tended to leave behind good stuff as well as bad stuff. Now we're talking about the migration of aesthetics and how they have enriched our culture." Anderson expresses concern for our future. "In Britain we are already beyond our sustainable natural population and we have the second highest fertility rate in Europe. We're a fecund bunch, second only to the French, and we're a randy bunch too, and of course some of us can explore what lies behind that situation." Homo Erraticus addresses Anderson's thoughts on such matters through a series of stories of diverse characters. "These are the issues that I have to think about but not to score points like politicians; instead I'm trying to entertain with a smile on my face, though occasionally a cynical one," says Ian. "For some, the songs are something to think about; for others, it's about tapping your feet , so some don't think about the words." Nevertheless, you sense that words are very important to the ever eloquent Mr Anderson. "I think you are left to wonder what I mean in what I write," he says. "Distance is the operative word because it could be in the next-door room or at the other end of the planet that I describe. I'm an observational writer and I don't write 'me' or 'my' in my songs. I'm not Alanis Morissette with a flute and I'm not a landscape painter either. "I want to look at the people around me and that's what I like to write about, which takes a bit of theatre. That's my vantage point, so what I write is 20 per cent me in terms of thoughts and opinions; 60 per cent based on other people, people I know or have researched; and 20 per cent imaginary characters." Ian Anderson Plays Jethro Tull (and Homo Erraticus) at the Grand Opera House, York, on Thursday, May 15 at 7.30pm. Tickets update: still available on 0844 871 3024 or at atgtickets.com/york New solo album Homo Erraticus is available through Anderson's label, Calliandra Records.
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Post by Gerrald Bostock on May 10, 2014 15:38:35 GMT
LUTON TODAY Jethro Tull’s Ian Anderson never too old to rock ‘n’ roll www.lutontoday.co.uk/what-s-on/jethro-tull-s-ian-anderson-never-too-old-to-rock-n-roll-1-6049069He qualifies for a bus pass, needs vocal support and is not quite as sprightly around the stage these days, but Ian Anderson proves you’re never too old to rock ‘n’ roll, writes Geoff Cox. The 66-year-old Jethro Tull frontman is on a UK tour coinciding with the recent release of his new studio album Homo Erraticus. But although the voice, and the old bones, are starting to creak, the legendary prog pioneer still knows how to put on a show. And before you ask, yes, he can still stand on one leg and play the flute at the same time! I was one of the loyal fans – I’ve followed Tull since their early days when Anderson lived in a Luton bedsit and was a cleaner at a local cinema – in the audience at The Wycombe Swan Theatre, for Wednesday’s show. It was a case of ‘spot the under 40s’ in a crowd who turned up unsure whether this was a Jethro Tull or an Ian Anderson gig. What we got was something old and something very new, with Home Erraticus performed in its entirety before the interval and a selection of Tull classics in the second half of the show. In 1972 Jethro Tull released iconic concept album, Thick As A Brick, based on a poem by “child prodigy Gerald Bostock”. In 2012, as fans wondered what happened to Bostock, Anderson explored the different paths his life might have taken in Thick As A Brick 2. With Homo Erraticus enfant prodigy Gerald is back after a remarkable career in the imagination of his creator. Following a 40-year political career, Bostock reunited with the singer taking the role of tour manager on a string of shows. Homo Erraticus marks his return to songwriting and it’s based on an unpublished manuscript by amateur historian “Ernest T. Parritt (1865-1928)”. Parritt examines key events of British history with a string of prophecies stretching to the current day and the future. I’ve seen Tull perform live several times and this was all rather strange, even though I’d listened to the album on the way to the theatre to get me in the mood. Performing a new album on stage right the way through is a huge gamble, but it was warmly received by the audience. The temperature was raised even further when the second half opened with probably the most famous Tull song of all, Living In The Past. This is what we were really here for and the band followed it up with a series of old favourites, like Sweet Dream, Songs From The Wood, Teacher, My God and Farm On The Freeway. And no Tull show would be complete without the instrumental Bouree and rip-roaring Locomotive Breath, which was played as an encore. There was no Martin Barre, the group’s lead guitarist for many years, this time and the only familiar face in Anderson’s line-up was Dave Goodier on bass guitar. Young Ryan O’Donnell’s additional vocals were excellent and you couldn’t fault the musicianship of Florian Opahle on electric guitar, John O’Hara (piano, keyboards, accordion) and Scott Hammond (drums). A backdrop of video and theatrics, plus Anderson’s trademark banter between songs, made it a great night for Tull followers. Anderson points out that the man who invented the seed drill in 1701 comes up third in a Google search for ‘Jethro Tull’ and rates but a brief, single page in Wikipedia. “He’s your Jethro man, not I,” says Anderson. “I think I prefer, in my twilight years, to use my own name for the most part being composer of virtually all Tull songs since 1968. “After all, being named after a real-life historical character of no little importance is a bit weird, to say the least.” So that probably answers the question. This is an Anderson show, not a Jethro Tull one. The tour continues in Guildford, Cambridge, Ipswich, Leicester, Derby, Manchester, York and Gateshead before four concerts in Anderson’s native Scotland and two at the Shepherds Bush Empire in London on May 24 and 25.
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Post by Gerrald Bostock on May 10, 2014 15:16:29 GMT
A 'Downton Abbey' With Added Spice The Jethro Tull founder and flutist enjoys pastoral privacy in his manor on 400 acres in the English countryside; tending to red-hot chilies. Ian Anderson's chores are to make music, grow chilies and carry eggs. Dylan Thomas for The Wall Street Journal Singer-songwriter Ian Anderson, 66, is best known as Jethro Tull's founder, lead vocalist, flutist and acoustic guitarist. His new solo album is "Homo Erraticus" (Kscope). He spoke with reporter Marc Myers. For years, my wife, Shona, and I lived in a 16th-century house west of London in Buckinghamshire, but we always felt a little imposed upon. Stalkers managed to find their way to us, and strangers would wander our property. So in 1994, we moved to the county of Wiltshire a couple of hours away. Stonehenge is in Wiltshire, so the region has its share of crop circles and mysterious wild beasts roaming the countryside. If you go for a walk, you have to be ready for anything. Our home was built in 1753—which ranks as a new house here—and it's remarkably free of weird stuff. It's a friendly house and much too big for the two of us. There are 11 bedrooms and 15 bathrooms between the main house and adjoining stables and offices. It's a 400-acre property that is technically a farm, but we've planted 30,000 oak and ash trees over the past five years to renovate the ancient woodlands that were cleared over the centuries for building and firewood. What's nice about our place is the atmosphere. The area isn't particularly remote but it's in the countryside and it's convenient. When we originally went looking for a home, we drew an hour-and-a-half travel-time circle around Heathrow Airport to ensure that my trips back and forth weren't too long when heading out on tours or returning home. As you pull up to our house, your first impression might be "Downton Abbey," but it's really a fraction of the size. The three-story manor house has 18th-century pretensions. As for a style, it's not really anything. It goes back to the post-Elizabethan period for sure, but subsequent generations of bits and bobs have changed it. It's not a mishmash—it's just not highly original. The facade was added in the 1800s and then extensions were built in a couple of places in the 1920s. Over the years, a succession of owners elaborated upon the house. For instance, the owners in the 1980s built an extension with an indoor swimming pool, whirlpool, sauna, solarium and gym. I don't swim there, but it's one of the most used areas of the house. The temperature is even throughout the year, and I like to go in to practice the flute and write music because it's warm, relatively humid and kind of big and echoey. The three-story manor has a facade from the 1800s and extensions from the 1920s. Dylan Thomas for The Wall Street Journal We also have four cottages on the property and another block of buildings for stables, offices and greenhouses. My days in the home office that I share with my wife are blissful. If you have to go to work and do clerical things, this is a nice place to be doing them. I'm only a short stroll to the kitchen and the espresso machine, and a slightly longer stroll to my recording studio and warehouse where my musical instruments are stored. I have staff that comes in and looks after the accounting and those sorts of things. My wife looks out for the personal side of our lives, from banking to accounting with tour promoters. There are a couple of ladies who come in each day to clean, a few gardeners and a couple of other staffers that do other things. I pretend to be hands-on and interested in gardening, but my role is basically to grow chilies and carry chicken eggs. We have a generous 12 acres of managed gardens before you go into the open fields and woodlands, and my wife works in the vegetable gardens and directs the gardeners with precision and a good amount of knowledge. One of two areas of the house that's special to me is our bedroom. It has a reasonable degree of coziness, but it's a big room with an adjoining bathroom with a vast amount of Italian marble installed before we moved in, so it's a bit "Dynasty" and over the top. From the bed, our view looks east, giving us the sunrise and a nice vista. You wake up in the morning and look out over England's green and pleasant land. You don't see anything other than trees and fields and the morning sun. The other room where I feel most comfortable is the kitchen. The first thing we did when we moved in was to gut that end of the house and put in modern equipment. We turned a mess into a large family kitchen and dining area. It still retains all of its leaded windows and stone mullions outside, but inside it's up-to-date and practical—at least it was 20 years ago when we moved in. The kitchen has a cast-iron stove and range that stays on 24 hours a day with a trickle of fuel. Because the stove is huge, the room is always warm. Our dogs and cats come to lie in the kitchen, and the chickens and sheep would be in there like a shot if you left the door open. The kitchen is the hearth of the house and we use it not only to sit and talk, but also to eat most of our meals—despite having a wood-paneled dining room. I use the warm solarium to germinate my exotic habanero, naga and bhut jolokia chili seedlings, but I grow the plants in the Victorian greenhouses. When I roast the chilies in the kitchen to prepare them for grinding and storage as dried powder, the space becomes uninhabitable. I try to remember to put on rubber gloves when handling them. Ever since I was young, I've had a taste for very hot, spicy food, and I use the powder to flavor soups and stews to give them a semblance of taste. I think part of my chili fetish is the challenge of growing hard-to-germinate varieties. I used to grow a couple of hundred plants but I've since cut down to about 50. Now I give away a few young plants to friends and members of the band. Another reason I practice the flute in the pool house is to keep the peace. If I play in the kitchen or living rooms, my wife and our dogs will tend to leave as soon as possible. The cats, however, are unfazed and will open an eye and go back to sleep, so I've convinced myself they rather like it. I also fancy that my chili seedlings respond positively to the seductive sound. Primitive flutes were on the rise in South America right around the time chilies were first planted for human consumption, so I play to them. online.wsj.com/news/articles/SB10001424052702303678404579536163969392246
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Post by Gerrald Bostock on May 8, 2014 20:46:39 GMT
Amazing stuff again DC, I love it more every time I see it...
What kind of saxes does Ian play during this
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Post by Gerrald Bostock on May 8, 2014 17:34:38 GMT
Well after some fine tuning and "little touch of make up" Mr DC tweaked this shot from Chicago 1975
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