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Post by Gerrald Bostock on Nov 30, 2015 19:09:56 GMT
I think me's got a defective DVD ... Plays this way in my TV as well....
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Post by Gerrald Bostock on Nov 30, 2015 19:04:37 GMT
...and a nod...
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Post by Gerrald Bostock on Nov 28, 2015 20:44:15 GMT
well it seems that a few members of this board have once again been thanked for their contributions...a shout out to Pat, Erin, Charlie founders of the group and our friend John "TooTull" Norman Also our friend Carsten Bergman, who helped but for some reason was not credited
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Post by Gerrald Bostock on Nov 25, 2015 14:09:35 GMT
Not sure if Ian has his dates mixed up, as to something he said in this interview, seems he recalls hearing of Frank's passing via the the TV in a Portland Maine dressing room. Frank passed December 4th 1993. In November 8th 1991 Ian was playing in Portland Maine, when he it is said he had heard of Frank's illness, and went out on stage slightly impaired . According to the Ministry Jethro Tull were not on tour at all in the month of December 1993
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Post by Gerrald Bostock on Nov 24, 2015 18:43:38 GMT
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Post by Gerrald Bostock on Nov 24, 2015 18:34:26 GMT
Ian Anderson Painting Auction for Hand in Hand for Syria Charity A painting of Ian will be auctioned on eBay on 1st December to raise money for the Hand in Hand for Syria charity. Hand in Hand for Syria was set up by a group of people in the UK who were becoming increasingly concerned about the effects of the conflict on the people inside Syria. They were the first people to take humanitarian aid into Syria, and they’ve remained at the forefront of emergency aid in the country ever since. The auction goes live on 1st December at 09.00 GMT – www.ebay.co.uk/itm/-/252183953425?
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Post by Gerrald Bostock on Nov 24, 2015 17:49:12 GMT
This is a video was posted Facebook Page, Mad Fallen Leaf performed Andrea Vercesi..features Clive, Andy, and Jonathan
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Post by Gerrald Bostock on Nov 24, 2015 17:21:04 GMT
... I wonder if certificate of authenticity comes with it,,,LOL
Oh what the hell I'll go for it...
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Post by Gerrald Bostock on Nov 24, 2015 13:02:07 GMT
New JETHRO TULL Tour Coming to Omaha in 2016 www.broadwayworld.com/omaha/article/New-JETHRO-TULL-Tour-Coming-to-Omaha-in-2016-20151123 New JETHRO TULL Tour Coming to Omaha in 2016 The new JETHRO TULL concert tour, in which Ian Anderson celebrates the life and times of English agriculturalist Jethro Tull, comes to Omaha for the first time since 1977 for a concert at the Holland Performing Arts Center on Tuesday, April 5, 2016 at 7:30 p.m. Ticket prices range from $59.25 to $94.25, and may be purchased at ticketomaha.com., 402-345-0606 and the Ticket Omaha Box Office at the Holland Center. The concert goes on sale Friday, December 4, at 10:00 a.m. Ian Anderson is known as the legendary frontman for the classic rock band Jethro Tull and reimagines his namesake with a narrative set in the near future. The show presents some of the best known songs from the repertoire of the band Jethro Tull, including Heavy Horses, Farm On The Freeway, Songs From The Wood, Aqualung, Living In The Past, Wind-Up, A New Day Yesterday, The Witch's Promise, and Locomotive Breath, sometimes with slightly re-written lyrics to better tell the tale. In JETHRO TULL, Anderson touches on topical issues including including climate change, intensive food production, and population growth. New material specially written for this show includes Prosperous Pasture, Fruits Of Frankenfield, And The World Feeds Me, Stick, Twist, Bust, and The Turnstile Gate. The show has already played in the UK, Italy, Spain, Russia, Brazil and Argentina, recently finishing an eight-day run in the Northeast U.S. to widely encouraging reviews. The Oakland Press writer Gary Graff offers: "A characteristically exceptional Tull concert...entertaining and original." Blogcritics' Jon Sobel writes that Ian Anderson has "got plenty of creative tricks up his sleeve." Philly.com's A. D. Amarosi says that the show is "something new" and "weirdly winning." Anderson is accompanied by David Goodier (bass), John O'Hara (keyboards), Florian Opahle (guitar), Scott Hammond (drums) and surprise virtual guests on screen including Ryan O'Donnell who shared the stage with Ian in recent tours for HOMO ERRATICUS and THICK AS A BRICK, and Icelandic singer/violinist/actress Unnur Birna Björnsdóttir who appears on screen throughout the show. In addition to U.S. dates in April and October 2016, JETHRO TULL will be performed by Ian Anderson in Czech Republic, Sweden and Germany plus more cities and countries to be announced. Watch for tour dates and much more information at www.jethrotull.com.
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Post by Gerrald Bostock on Nov 22, 2015 17:13:08 GMT
Longtime Jethro Tull Member Martin Barre Set to Launch US Tour with Solo Band Saturday, November 21, 2015 6 a.m. EST myfm1065.com/news/articles/2015/nov/21/longtime-jethro-tull-member-martin-barre-set-to-launch-us-tour-with-solo-band/Longtime Jethro Tull guitarist Martin Barre and his solo band were among the many acts that performed on the just-completed Yes fan cruise, Cruise to the Edge, and now the group is set to embark on a series of U.S. tour dates. The trek kicks off tonight in Delray Beach, Florida, and is mapped out through a December 20 show in Hamden, Connecticut. The Martin Barre Band plays a mix of classic Jethro Tull songs and material from Barre's own solo albums, including his latest release, 2015's Back to Steel . The band also features singer Dan Crisp , drummer George Lindsay and bassist Alan Thomson . Barre joined Jethro Tull in late 1968, after the band had released its debut album, This Was . He played on of all of the group's ensuing recordings, although he stopped touring with the band a few years ago. Here are all of the Martin Barre Band's upcoming U.S. shows: 11/21 -- Delray Beach, FL, Arts Garage 11/24 -- Fayette, AL, Fayette Civic Centre 11/25 -- Tupelo, MS, The Blue Canoe 11/28 -- Shreveport, LA, Bears on Fairfield 11/29 -- Jackson, MS, Duling Hall 12/2 -- Atlanta, GA, Smith's Olde Bar 12/3 -- Asheville, NC, The Grey Eagle 12/4 -- Rocky Mount, VA, Harvester Performance Center 12/6 -- Vienna, VA, Jammin' Java 12/10 -- Sellersville, PA, Sellersville Theater 12/11 -- Binghamton, NY, Eclipse 12/13 -- Cleveland, OH, Beachland Ballroom and Tavern 12/15 -- Rochester, NY, The Lovin' Cup 12/18 -- Plymouth, MA, The Spire Center for the Performing Arts 12/19 -- New York, NY, Rockwood Music Hall 12/20 -- Hamden, CT, The Ballroom at Space Copyright © 2015, ABC Radio. All rights reserved.
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Post by Gerrald Bostock on Nov 22, 2015 16:28:36 GMT
A Classic 1974 Promo for Warchild
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Post by Gerrald Bostock on Nov 22, 2015 16:23:59 GMT
Ian interviewed on Australian TV show Hit Scene in 1972, I must say I love the hat....
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Post by Gerrald Bostock on Nov 21, 2015 19:37:18 GMT
Thanks so much for this review It is nice to know that is well received in Barcelona
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Post by Gerrald Bostock on Nov 21, 2015 15:17:04 GMT
In less then a year we have 3000 members on our facebook page so a big THANKS to everyone who visits , and contribute to the page. A big shout to all the of our Admins who help daily with the maintenance of site. Let it continue to thrive.
Also a HUGE THANKS has to GO TO- PAT and ERIN for making this what is has become
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Post by Gerrald Bostock on Nov 21, 2015 15:12:59 GMT
The "DYNASTY" starts the NME May 23 1970 issue had the first pictures of John Evan as a member of Jethro Tull. The start of one of the most prolific and hugely successful band in Rock History. Tull became the one of the biggest concert draw in the 72 to 77.
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Post by Gerrald Bostock on Nov 20, 2015 16:04:19 GMT
THANKS - I'll continue to bring peace to Tull-land whenever I can. >>>and that's just a preview...lol (here's hoping) I agree Peace in the Tull world... , and goodwill to us all. So I think I'll go back to the family
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Post by Gerrald Bostock on Nov 20, 2015 2:06:15 GMT
www.geneseetheatre.com/events/detail/jethro-tull-written-and-performed-by-ian-andersonApr 1 , 2016 Price $55, $75, $95, $125 Availability On Sale 11.20.15 10:00am Jethro Tull-Written and performed by Ian Anderson Ian Anderson, known throughout the world of rock music as the flute and voice behind the legendary Jethro Tull, celebrates his 47th year as an international recording and performing musician. Since forming in 1968, Ian Anderson and Jethro Tull have released 30 studio and live albums, selling more than 60 million copies. After undertaking more than 3,000 concerts in 40 countries throughout four decades, he has typically played 100+ concerts each year to longstanding fans of hits such as: “Locomotive Breath” “Aqualung” “Thick as a Brick” “Living in the Past” Widely recognized as the man who introduced the flute to rock music, Ian Anderson remains the crowned exponent of the popular and rock genres of flute playing. So far, no real pretender to the throne has stepped forward. In recent years, he has toured more and more as simply Ian Anderson, often with orchestras, string quartets, and featured soloist performing his latest hit “Homo Erraticus” together with favorites from the Jethro Tull catalogue. Ticket Information Tickets range from $55 to $125.00 plus applicable service charges and go on sale Friday, November 20 at 10am. Tickets are available by visiting the Genesee Theatre Box Office, all Ticketmaster outlets, Ticketmaster.com & Ticketmaster charge by phone at 800-982-2787.
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Post by Gerrald Bostock on Nov 20, 2015 1:59:54 GMT
djournal.com/lifestyle/jethro-tull-guitarist-to-play-tupelo/Jethro Tull guitarist to play Tupelo Posted on November 19, 2015 by W. Derek Russell in Entertainment, Lifestyle Share on facebook Share on twitter Share on email More Sharing Services Jethro Tull guitarist Martin Barre has been touring across the globe for nearly 45 years, most recently with The Martin Barre Band which hits Tupelo’s Blue Canoe next Wednesday night. (Courtesy) Jethro Tull guitarist Martin Barre has been touring across the globe for nearly 45 years, most recently with The Martin Barre Band which hits Tupelo’s Blue Canoe next Wednesday night. (Courtesy) By W. Derek Russell Daily Journal TUPELO – Martin Barre feels perfectly at home on stage. Why shouldn’t he? The former Jethro Tull guitarist has been touring for nearly 45 years throughout the world. For the past four years, Barre has been touring with his own band – aptly named The Martin Barre Band – and next week, he’s headed for Tupelo. “I’m Mississippi-local,” Barre laughed in an interview with the Daily Journal. “My wife is from Brandon and my son lives in Canton, so I’m familiar with the whole Mississippi-thing. I love it.” The Birmingham, England-born musician has made a career out of his music – joining Jethro Tull before their 1969 album, “Stand Up.” After all these years, Barre said it’s still a whole new world touring in 2015. “It’s my world, now,” he said. “I know America really well and I know travel really well. I’ve learned over the years what to do and what not to do, but essentially, I love playing live. And it’s a really great pleasure to tour, especially in America.” Barre’s third album with his band, “Back to Steel,” is important to him because of his love for the original tunes he’s written. “We started playing mostly old (Jethro) Tull material,” he said, “and when we started doing that I went back to the really early Tull that hasn’t been played in a long time. We sort of reassessed it, rearranged it and made them a bit more blues-y and more rock-y. So we’ve got sort of a framework of classic Tull and then we’ve added to these sets with all this original material. I want to have a band that plays a lot of original material, so it was important to write this album with playing it live in mind. It’s really vital.” Barre said there’s a perception of what to expect from one of his shows after playing with a legendary band for so long. “I think I’m fighting with what people would perceive to be what most people in my position would do, and that would be playing Jethro Tull songs but with no flute player there,” he said. “And that’s exactly the opposite of what I’m doing. This a very fresh, energetic approach to playing Tull music when I do those songs, but it has more to do with the guitar side of it than the flute side. And it’s also a really serious show; it’s not a sort of throw away solo tour with me and a bunch of my mates. It’s not half-hearted at all. It’s a very serious attempt to establish myself all over again. Classic Tull fans won’t be disappointed, I’m very confident of that.” Catch The Martin Barre Band when they perform at the Blue Canoe on Wednesday, Nov. 25. For more information, call (662) 269-2642. derek.russell@journalinc.com
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Post by Gerrald Bostock on Nov 19, 2015 20:05:08 GMT
www.browardpalmbeach.com/music/martin-barre-recorded-an-entire-album-and-rejected-it-because-the-benchmark-was-jethro-tull-7398791Martin Barre Recorded an Entire Album and Rejected It Because the Benchmark Was Jethro Tull By Lee Zimmerman - Wednesday, November 18, 2015 Martin Barre knows what it's like to reach the stratosphere of superstardom. He's toured the world, played the biggest arenas and, for more than four decades, recorded dozens of classic albums, all as chief guitarist for Jethro Tull. So it's no small turnaround to find him scaling back in the role of a solo troubadour, narrowing his expectations and playing intimate venues under his own auspices. Although he's had his own band for three years and, by his count, plays an average of 100 gigs a year, Barre's current jaunt marks his first series of solo gigs in the United States. "It's very difficult to get over there," Barre says, explaining the delay via phone from his home in the United Kingdom. "I'm an unknown quantity. But through word of mouth and through YouTube, I hope and I guess I have a good reputation." It sounds strange to hear Barre undercut his credence, given the fact that his guitar riffs, like that on the Tull showstopper "Locomotive Breath," make for some of the most indelible encounters in all of rock 'n' roll. Barre concurs but quickly points out that even though he reinterprets several Tull tunes in his solo shows, there's a big difference between his individual efforts and what he did in his former day job. "In real terms, I'm very happy with my solo career." "Let's just say far fewer people want to see Mick Jagger than want to see the Rolling Stones," he points out. "It's the same thing here. Everyone wants to see Jethro Tull, but when it's not Jethro Tull, promoters become nervous about what they're going to get. However, when people see us play, it breaks the ice. I'm not in my normal environment, but I hope people will trust me." So can audiences expect to hear that classic riff? Barre demurs. "I don't do it because I think it's the easy way out," he insists. "I don't want to be predictable. I do a lot of cool stuff that I think works really well, a lot of my own stuff, as well as blues standards we've worked up on our own. The Tull stuff I play hasn't been played in a long time — 'Minstrel in the Gallery,' 'To Cry You a Song,' 'Song for Jeffrey,' and 'Fat Man.' I've sort of reinvented them and given them a fresh spin." Still, he concedes that the high bar set by Jethro Tull adds increased pressure. "There certainly was a lot of that in the '90s when I first started recording solo albums," he says. "I recorded an entire album and rejected it because the benchmark was Jethro Tull, and it didn't reach that plateau. Now, after six or seven albums, I'm more comfortable. The music I'm doing now doesn't compare to Jethro Tull or what Ian [Anderson] is doing, so I don't feel that pressure now. I'm enjoying myself so much, the danger is that I might get a bit self-indulgent." That's the opposite of how he felt about being in Jethro Tull, particularly in its final few years. "In the beginning, we were unpredictable. We could go from rock to folk to that kind of showy extravagance. But in the end, it got safe and repetitive. It was a good time to stop, although it wasn't of my making... Everyone who played in Jethro Tull came in with so much enthusiasm and energy, but if you're restrained from using that energy and giving it to the band — if you're on a very tight leash — it doesn't work. I want my musicians to have total freedom. It's important that it works on an equal basis." Of course, the obvious question is, with Barre venturing out on his own and Ian Anderson doing his own reimagining of the band's music, what's the future for Tull? Or is there any at this point? "It's a safety net to say you never know, but in real terms, I'm very happy with my solo career," he responds. "I'm not looking at money at all. I'd like to play Madison Square Garden and sell it out, but you have to take that out of the equation. I'm talking about the emotion and the music, and I'm in a really good place... My goal is that people will like it, and that will be my reward." Still, doesn't he miss the money, the fame, the headlining gigs, the cache of being a superstar? "I think looking back can be negative. I don't have time for that," Barre asserts. "So I'm looking forward. I don't go up to people and say, 'Hey, you. Know who I am? You know what I've done?' I'd rather say to people, 'This is what I'm doing now!' I've wiped the slate clean." The Martin Barre Band 8 p.m. Saturday, November 21 and 7 p.m. Sunday, November 22, at Arts Garage, 94 NE Second Ave., Delray Beach. Tickets cost $45 plus fees. Call 561-450-6357, or visit artsgarage.org. CONGRATS on POST 100
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Post by Gerrald Bostock on Nov 19, 2015 20:04:07 GMT
Its justly deserved, Martin is a giant when he was plugged in. It seems now he is plugged in and getting some of the kudos, he should of had years ago. Martin seems happy and excited playing his own music and his interpretation of other pieces of music. Good for Martin. Pat I still am finding golden tidbits in that interview...Raise a cup ...a fine team effort!!!!
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Post by Gerrald Bostock on Nov 18, 2015 12:46:47 GMT
www.musicstartshere.org/jethro-tull-guitarist-martin-barre-talks-guitars-jimi-hendrix-and-aqualungJethro Tull Guitarist Martin Barre Talks Guitars, Jimi Hendrix and "Aqualung" Musician News Nov 16, 2015 He’s a first-rate prog-rock guitarist who plays second fiddle to a flute. Dear Guitar Hero: Martin Barre The Jethro Tull guitarist answers your questions! He’s a first-rate prog-rock guitarist who plays second fiddle to a flute. But what Guitar World readers really want to know is... Have you ever heard Iron Maiden’s rendition of the Tull classic “Cross-Eyed Mary”? — Michael Felton I’ve heard it, and I like it. I met the guys in Maiden when they came to one of our concerts. They told me they are very big Tull fans. I said to them, “Please don’t do another Tull track without asking me to play on it.” They were quite surprised I said that. So many famous bands and musicians love Tull, which is a great honor to me. I read that you studied architecture at school in the late Sixties just prior to joining Jethro Tull. Tell me about that, and did you design anything during your studies? — Jimmy Geraghty I never completed my studies. I did three years of a seven-year university course. It was so complex that I failed Spanish and atomic science, two subjects which, in my mind, had little to do with designing buildings. But I did, in fact, design a road junction in Birmingham, England. I realized early on that it was a boring career and got out of it, and opted for music instead. Your guitar solo in “Aqualung” is among rock’s most recognizable lead breaks. How did it come together, and why do you think Aqualung is probably Tull’s most beloved and iconic album? — Billy Teasle That guitar solo was totally improvised, and I did it in one take. Luckily for me, that solo turned out well, because if it didn’t there would’ve been a flute solo in its place. The fact that Aqualung would become one of Tull’s most popular albums is entirely coincidental. It was a difficult album to make. We had a hard time recording it because things kept breaking down in the studio, which led to tension among the band members. It wasn’t a feel-good album, and if anything its ensuing popularity was in part due to the image of Aqualung as a person. People latched onto the lyrical side of the album as well as the diversity of songs on it. We spent a long time recording it. You’ve been a member of Jethro Tull for more than 40 years, having played on every album since the band’s second LP, Stand Up, in 1969. You and Ian Anderson obviously have great chemistry, since you’ve lasted in the band for so long. What makes you guys click, and why does he get the songwriting credits on the albums? — Larry Sacchetillo The music of Jethro Tull for the most part belongs to Ian and myself, since he and I have pretty much composed all of the band’s music. Since Ian and I have been playing together for many years, we have a mutual respect for one another both as people and as musicians. It’s a marriage of understanding and giving the other person space, and knowing that the history and catalog of Jethro Tull’s music was of our making. Ian got the songwriting credits because the legal bottom line is that he writes the lyrics and has the basic ideas for a song, and then I, or someone else in the band, contribute parts to it. On Thick as a Brick, for example, so much of that music came from [keyboardist] John Evan. Back in those days no one thought of all the legalities and the way that songwriting and royalties were split and who would earn what. We were just a band making music, and we tried to make it to the best of our abilities. We all sat in a room and worked out songs together from the beginning. It might not be fair that Ian gets the songwriting credits, but I know I’m an important part of Jethro Tull’s music, even though my contributions are not on paper, which is not an issue with me. I’ve made a great career out of music, and I have no complaints or regrets. What were your thoughts when you heard that Tull beat out Metallica to win a Grammy for best hard rock/metal performance for the band’s 1987 album, Crest of a Knave? — Nick Tedesco The feeling was slightly unreal, almost as if a mistake had been made. A lot of people complained when we won the award, which was fair, because we certainly didn’t belong in the same category as a band such as Metallica, who should’ve won it, nor is Tull in any way heavy metal. Our record company didn’t fly us to the Grammys because they didn’t think we would win. I put it to the back of my mind, and then I received a phone call saying that we won the award. I was quite upset that we weren’t in the audience to accept it. I understand that Jethro Tull opened some shows for Jimi Hendrix on your first tour with the band. What was it like to tour with him, and what are your thoughts about his playing? — Mike Miranda My very first gigs with Tull were opening for Hendrix on tour in Scandinavia. I was petrified, since I was so new to touring. Hendrix was a masterful guitarist, a genuinely humble person, and he was always very nice to me. Within the first two years of my joining Tull, we shared the bill with most of the major guitar heroes and bands of the day, including Jeff Beck, Joe Cocker, Chicago, Led Zeppelin, the Grateful Dead and the Who, to name a few. You name the band in 1969 and ’70, and we probably played with them. I think the only major guitarist that we weren’t on the same bill with at the time was Eric Clapton. Back in those days, the PA systems were rubbish, the venues were horrible, and amps would often blow up. Everything that could go wrong would go wrong. There was never a guarantee you’d have a good gig because you were at the mercy of different variables that would affect your performance. The tour that broke us was when we opened for Zeppelin during an extensive tour in the U.S., because we got a huge amount of exposure. Subsequently, we headlined our next tour, which was following the release of Aqualung. Do you ever feel like your guitar work in Jethro Tull gets overshadowed by Ian’s flute playing, since the flute is the most distinguishing characteristic of Tull’s sound? — Sidney Rosen Jethro Tull is first and foremost a band. It’s not a guitar band or a flute band. But during the past few years there has been more flute playing than in the early days because Ian’s vocals have been getting weaker. Over the last 18 months, since I’ve begun touring with my own band, I’m getting a big window to play lots of guitar, and it’s quite fulfilling. That said, the supportive nature of the guitar is very important. I’m a team player. I’m a great believer in giving other musicians space, and I always play for the song. My approach to guitar is like dentistry: if there’s a hole, I’ll fill it. I’m sort of like the George Harrison of Jethro Tull. If I have a nice rhythm part to play, I put a lot of care and attention into it. I get a great deal of enjoyment playing supportively and knowing lots of great chords and knowing how to play behind solos, whether it’s a flute, keyboard or another instrument. You’ve played various guitars and amps over the years. What are you using these days? — Anthony Fragnito I’ve been playing Paul Reed Smith guitars for the past 10 years. They are among the world’s best-made guitars. I never have to mess with them; they are perfect right out of the box. I use Soldano amps and GHS strings. Once you have a setup that you’re really happy with, your playing gets better. I just plug in and my sound is there. What have you been up to lately, and do you plan to record another Jethro Tull album? — Ira Goldner Tull is on hiatus. Ian and I are both currently working on individual solo projects. I have a new album available on my web site, a double-CD simply called Martin Barre, and I plan to record an acoustic album this winter. I’m touring with my band in England and Europe this year, and I hope to tour in the U.S. next year. I’m living a great life as a guitarist again, and there’s nothing I’m missing at all. What are some of your favorite guitar solos in Tull? — Andrew Polito I wouldn’t know, because I don’t listen to anything I’ve done other than my solo albums. When recording a solo album, I have the freedom to do what I want. So if I spend a whole day recording a track and then decide to chuck it, it’s my choice. If I played a Tull album, I’d listen to a solo and say, “I could’ve done that better.” However, I’m quite pleased with my playing on Crest of a Knave, which was basically me, Ian and [bassist] Dave Pegg working in the studio for two months, so I had ample time to put a lot of myself into that album.
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Post by Gerrald Bostock on Nov 18, 2015 12:36:33 GMT
Ian Anderson announces 2016 U.S. spring dates for 'Jethro Tull: The Rock Opera' Robert Rheubottom - AXS Contributor By: Robert Rheubottom www.axs.com/news/ian-anderson-announces-2016-u-s-spring-dates-for-jethro-tull-the-rock--70267Ian Anderson announces 2016 U.S. spring dates for 'Jethro Tull: The Rock Opera' Eagle Rock Ian Anderson will return to the U.S. for a string of new dates next spring. The veteran Scottish prog-rocker has extended his touring show 'Jethro Tull: The Rock Opera' into 2016 and has announced nine new performances. According to an article posted Nov. 16 at Pollstar, the Jethro Tull frontman's latest project is dedicated to his band's historical namesake - a 17th century English agriculturalist, who invented a horse-drawn seed drill and developed a horse-drawn hoe. Re-imagined in the near future, the rock opera explores a number of social issues like climate change, intensive food production and population growth and includes plenty of beloved Tull classics like "Heavy Horses," "Aqualung," "Living in the Past," and "Locomotive Breath," as well as new Anderson-penned songs specifically written for the production. The initial trek will launch April 1, 2016 in Waukegan, Illinois, at Genesee Theatre. The second U.S. leg will include stops in a number of major markets missed during his U.S. fall run, which wrapped up earlier this month. Anderson will make stops in Indianapolis, Nashville and Kansas City, Missouri before wrapping up April 16, 2016 in Atlanta at Fox Theatre. More dates expected to be announced very shortly. Pre-sales for select dates begin Wed., Nov. 18 at 10 a.m. local time. Tickets go on sale to the general public beginning Fri., Nov. 20 at 10:00 a.m. local time. For more information, click here. The production features the "Bungle Through the Jungle" hitmaker on lead vocals, flute and other assorted instruments with help from guitarist Florian Opahle, bassist David Goodier, orchestra conductor/pianist/keyboardist/accordion player John O’Hara and drummer/percussionist Scott Hammond. There are also some surprise appearances from a number of virtual special guests. "Jethro Tull: The Rock Opera" launched on Sept. 8, 2015 in the U.K. and has already made world stops in Russia, South America, Europe and North America. The tour will continue through 2015 with a second leg of dates in Europe with visits to Spain, Italy and a return to the U.K. A remastered and expanded 40th anniversary reissue of Jethro Tull's classic studio album Too Old to Rock 'n' Roll: Too Young to Die! will hit shelves on Nov. 27 via Rhino/Parlophone/Warner. For more information, click here. See below for the updated 'Jethro Tull: The Rock Opera' schedule. For the latest information on Ian Anderson or Jethro Tull, click here. "Jethro Tull: The Rock Opera" featuring Ian Anderson U.S. tour schedule: April 1 – Waukegan, Ill., Genesee Theatre April 2 – Appleton, Wis., Fox Cities Performing Arts Center April 4 – Kansas City, Mo., Uptown Theater April 7 – Fort Wayne, Ind., Embassy Theatre April 8 – Indianapolis, Ind., Murat Theatre April 11 – Akron, Ohio, Akron Civic Theatre April 13 – Nashville, Tenn., Ryman Auditorium April 15 – Montgomery, Ala., Montgomery Performing Arts Centre April 16 – Atlanta, Ga., Fox Theatre
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Post by Gerrald Bostock on Nov 18, 2015 12:31:20 GMT
Arts Garage. added a 2nd date for Sunday
Martin Barre
Kick it Back to Steel with Martin Barre at the Arts Garage. Known as the master shredder behind former prog rock crew Jethro Tull, Barre was voted the 25th best soloist in the U.S. for his part on "Aqualung" and has shared the stage with Jimmy Hendrix and Led Zeppelin, to name a few. So get ready for a totally rockin' evening in the 561.
Saturday, November 21, 8 p.m. Arts Garage, 180 NE First St., Delray Beach; 561-450-6357; artsgarage.org. Tickets are sold out via artsgarage.org.
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Post by Gerrald Bostock on Nov 18, 2015 12:24:12 GMT
Ian Anderson to perform “Jethro Tull” at the Embassy wane.com/2015/11/17/ian-anderson-to-perform-jethro-tull-at-the-embassy/Fort Wayne, Ind. – The new Jethro Tull concert tour returns to the States starting April 2016, in which Ian Anderson celebrates the life and times of English agriculturalist Jethro Tull. “Jethro Tull” written and performed by Ian Anderson will be at the Embassy Theatre on April 7. Tickets go on sale Friday, Nov. 20 through ticketmaster.com, charge-by-phone 800.745.3000 and at the Embassy box office. Tickets are $45, $55, $69.50, $79.50, and $99.50. Ian Anderson is known as the legendary frontman for the classic rock band Jethro Tull and reimagines his namesake with a narrative set in the near future. The show presents some of the best-known songs from the repertoire of the band Jethro Tull. “Jethro Tull,” written and performed by Ian Anderson runs from April 1-16 and touches on topical issues including climate change, intensive food production and population growth. New material specially written for this show includes “Prosperous Pasture,” “Fruits Of Frankenfield,” “And The World Feeds Me,” “Stick, Twist, Bust” and “The Turnstile Gate.” It features many Tull favorites such as “Heavy Horses,” “Farm on the Freeway,” “Songs From The Wood,” “Aqualung,” “Living In The Past,” “Wind-Up,” “A New Day Yesterday,” “The Witch’s Promise” and “Locomotive Breath,” sometimes with slightly re-written lyrics to better tell the tale.
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Post by Gerrald Bostock on Nov 17, 2015 17:55:01 GMT
This is a brilliant song that Dee Palmer penned. It was my moms favorite (Tull) song and sadly when she passed this year I played it in her memory. I had the opportunity to thank Dee for composing this track and she was so kind to explain why she had written it. It was during the time that John was very sick as well as one of Dee parent. This song is very personal to me and probably my favorite least played songs.
So here is to John a true kind man from all accounts, a brilliant musician and may he rest in peace. Thank you for all of your music that you helped mold.
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Post by Gerrald Bostock on Nov 17, 2015 15:53:57 GMT
well today is Martin's Birthday so I thought it would be fitting to post a song which he is featured on, playing the mandolin the 2008 Swans in Flight Song "Firelight"
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Post by Gerrald Bostock on Nov 16, 2015 19:33:37 GMT
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Post by Gerrald Bostock on Nov 16, 2015 18:13:51 GMT
JETHRO TULL: THE ROCK OPERA
LYRICS
Narrator/Older Jethro Tull
Susannah
Young Jethro Tull/John (Jasper) Tull, Jethro’s son
Jethro Tull Senior, Jethro’s father
Quentin Scrobe/Choirmaster
Heavy Horses
Recit.
What do you do when the old man’s gone? Do you want to see him?
What do you do with the old man’s songs? Do you want to hear them?
Sublime in fertile old Thames Valley,
commuters and history, strange bedfellows we
lie in folds of velvety green,
the roots and the branches of the Tull family tree.
HEAVY HORSES
Iron-clad feather-feet pounding the dust;
an October’s day, towards evening.
Sweat-embossed veins standing proud to the plough;
salt on a deep chest seasoning.
Last of the line at an honest day’s toil;
turning the deep sod under.
Flint at the fetlock, chasing the bone;
flies, at the nostrils plunder.
The Suffolk, the Clydesdale, the Percheron vie
with the Shire on his feathers floating.
Hauling soft timber into the dusk
to bed on a warm straw coating.
Heavy Horses, move the land under me.
Behind the plough guiding, slipping and sliding free.
Now you’re down to the few and there’s no work to do;
the tractor’s on its way.
Massey, New Holland, nothing runs like a Deere,
Four-driven fat tyres, heaving.
Soft ride on work seat suspended in air,
Finger-tip touch for steering.
Three hundred horses under the hood,
fed on red diesel fuming.
Hungry as hell while the oil-barons fly,
A bio-fuel era looming.
Bring a song for the evening,
clean brass to flash the dawn
across these acres glistening
like dew on a carpet lawn.
At once the old hands quicken,
bring pick and wisp and curry comb.
Thrill to the sound of all
the heavy horses coming home.
Mighty machine with the big grunt smile,
gentle Goliath tearing
five furrow lines on a brown spent field;
spoils of a deep plough sharing.
Bring me a wheel of oaken wood,
a rein of polished leather.
A heavy horse and a tumbling sky,
brewing heavy weather.
Heavy Horses, move the land under me.
Behind the plough guiding, slipping and sliding free.
Now you’re down to the few and there’s no work to do;
the tractor’s on its way.
Wind Up
Recit.
We’ll make him do the right thing.
Send him to be a bright thing
in the shadow of Oxford spires.
No arty-fart pretensions.
Fully-paid-up intentions
To let Latin, law light curiosity’s fires.
WIND UP
When he was young and we packed him off to school
where they taught him how not to play the game;
He didn’t mind if they groomed him for success,
or if they said that he was just a fool.
So I left there in the morning with their God tucked underneath my arm,
their half-assed smiles and the book of rules.
And I asked this God a question and by way of firm reply,
He said, “I’m not the kind you have to wind up on Sundays.”
Well, they can excommunicate me on my way to Sunday school
and have all the Bishops harmonise these lines.
How do you dare tell me that I’m my Father’s son
when that was just an accident of birth?
I’d rather look around me, compose a better song,
’cause that’s the honest measure of my worth.
In your pomp and all your glory you’re a poorer man than me,
as you lick the boots of death born out of fear.
He doesn’t want to study, your Latin and your Law
your theory and your esoteric ways
He wants to be a real man, practical and strong;
dig honest dirt like he was born to do.
So I’m leaving in the morning, no rueful backward smile.
Following my nose to yonder blue.
You can excommunicate me on my way to Sunday school
and have all the Bishops harmonise these lines.
When I was older and they packed me off to school
I buckled down to Latin and the Law.
I didn’t mind if they groomed me for success,
But let it not be said I was a fool.
So to my old headmaster (and to anyone who cares),
before I’m through I’d like to say my prayers.
You didn’t excommunicate me on my way to Sunday school
while a choir of Bishops harmonised these lines.
But I still don’t believe you; you had the whole damn thing all wrong.
He’s not the kind you have to wind up on Sundays.
Aqualung
Recit.
Not a well man, if truth we tell, man;
chesty cough and infections are his Achilles heel.
I study hard, man. And do what I can
to please my parents, keep an even keel.
AQUALUNG
Sitting on a park bench, eyeing all the world with bad intent.
Snot running down my nose; greasy fingers smearing shabby clothes.
Hey, Aqualung.
Drying in the cold sun, angry at the children having fun.
Hey, Aqualung.
Feeling like a dead duck; spitting out pieces of my broken luck.
Oh, Aqualung.
Sun streaking cold, a young man wandering, lonely.
Taking time the only way he knows.
Chest hurting bad as he bends to pick a dog-end.
He goes down to the bog and warms his feet.
Feeling alone, Oxford college up the road.
Intellectual salvation, a cup of tea.
Aqualung my shadow: don’t you start away uneasy
you poor old sod, you see it’s only me.
Can you still remember December’s foggy freeze?
When the ice that clings on to your beard was screaming agony.
And I snatch my rattling last breaths with deep-sea-diver sounds
and the flowers bloom like madness in the spring.
Sun streaking cold, a young man wandering, lonely.
Taking time the only way he knows.
Chest hurting bad as I bend to pick a dog-end.
I go down to the bog and warm my feet.
Feeling alone, Oxford college up the road.
Intellectual salvation, a cup of tea.
Aqualung my shadow: don’t you start away uneasy
you poor old sod, you see it’s only me. Eeh, eeh, eeh, eeh. Wo, ho, ho, ho-ho.
Dee-dee-dee-dee etc.
Aqualung my friend: don’t you start away uneasy
you poor old sod, you see it’s only me.
Sitting on a park bench, eyeing all the world with bad intent.
Snot running down my nose; greasy fingers smearing shabby clothes.
Hey, Aqualung.
Drying in the cold sun, angry at the children having fun.
Hey, Aqualung.
Feeling like a dead duck; spitting out pieces of my broken luck.
Oh, Aqualung.
Wo, oh, oh, oh-oh – Aqualung.
With You There To Help Me
Recit.
My new husband seeks solace in French mountains and meadows
where balmier breezes calm his chest-heaving.
Picking up hints and practices pastoral,
journeyman journeying, taking and leaving.
It’s been a right wheeze, in jolly good company.
Rows of olives, strains of barley
in quiet tradition, chains linked in memory.
Late to soft bed but hard rising early.
L’homme botanique dreams his new dreams…..
WITH YOU THERE TO HELP ME
(Duet with Susannah)
In days of peace;
sweet smelling summer nights
of wine and song,
dusty pavements, burning feet.
Why am I crying? I want to know.
How can I smile and make it right?
For sixty days and eighty nights
and not give in and lose the fight.
Going back to the ones that I know,
with whom I can be what I want to be.
Just one week for the feeling to go
and with you there to help him
then it probably will.
I won’t go down
acting the same old play.
Give sixty days for just one night.
Don’t think I’d make it: but then I might.
Going back to the ones that I know,
with whom I can be what I want to be.
Just one week for the feeling to go
and with you there to help him
then it probably will.
Back To The Family
Recit.
Something stirs back in the homeland,
times are hard, drowning in melting mortgage.
Father T faces tough decisions.
Mulls it over. Interrogates his inner conscience.
Back and forth, to and fro. Consult the family pack?
Share the weight? No, best quietly act before too late.
BACK TO THE FAMILY
My cellphone wakes me in the morning.
Have to get up to answer the call.
Soon to go back to the family
where no one need ring him at all.
This R&R trip was enlightening;
Short nights and long Summer days.
Exploring deep folds of velvet green
in these French and Italian ways.
Father’s in the counting house
counting all his money.
Sister’s sitting by the mirror;
she thinks her hair looks funny.
And there stands he, contemplating,
wondering which way to go.
Wandering through fields of old Europe,
freely breathing, hale, hearty and trim.
So, he’s heading home to the family;
Mere dreams not fulfilling to him.
I’ll get a train back to home counties.
This soft life is getting me down.
Get to grips with the farm and the family.
No return to old Oxford town.
iPhone ringing all day long:
Bad Daddy’s reason crumbling?
Turned our fields from green to silver
into steel rails, freeways rumbling.
Debts all paid, but a life betrayed;
heritage torn away.
Farm On The Freeway
FARM ON THE FREEWAY
Nine miles of two-strand topped with barbed wire,
laid by the father for the son.
Good shelter down there on the valley floor,
down by where the sweet stream run.
Now they might give him compensation.
That’s not what I’m chasing; I was a rich man before yesterday.
Now all that’s left is a cheque and a pickup truck:
and he left his farm on the freeway.
They’re busy building airports on the South side,
silicon chip factory on the East.
And the big road’s pushing through along the valley floor;
Hot machine pouring six lanes at the very least.
They say they gave him compensation.
That’s not what I’m chasing; I was a rich man before yesterday.
Now all he has left is a broken-down pickup truck:
looks like his farm is a freeway.
They forgot they told us what this old land was for.
Grow two tons the acre, boy, between the stones.
This was no Southfork, it was no Ponderosa.
But it was the place that he called home.
They say they gave him compensation.
That’s not what I’m chasing; I was a rich man before yesterday.
And what does he want with a million dollars and a pickup truck
when he left his farm under the freeway?
Prosperous Pasture
Recit.
Pick up eight pieces and take a chance.
Sink what’s left on a risk and a gamble.
Stuff they can’t replace and won’t make any more of.
Sod and turf cleared of thicket and bramble.
To plant in meticulous rows.
PROSPEROUS PASTURE
Bought ourselves a heavenly plot in Wiltshire plains of Shalbourne.
Parcel of acres – not a lot – enough to raise a few
cows and sheep and grow some corn, maybe to eke a living
while Daddy works his strange ways as Daddies often do.
Maybe I can learn to help with scientific learning.
What the heck? It’s bio-tech, old tables now for turning.
Experiment, try this, try that; inspired investigation.
No good trying to jump off when the train has left the station.
Here we wallow in prosperous pasture.
Piggies sipping from a shallow trough.
Tired old ways to modify and alter;
greener hands both on and off.
Fruits of Frankenfield
Recit.
From crucible by slim pipette, flask and dropper, petri dish.
Out of wedlock, ill-conceived? Perhaps; might be the Good Lord’s wish…
FRUITS OF FRANKENFIELD
It’s in the DNA. It’s in God’s will.
Mary Shelley’s out to lunch. But now she will eat her fill.
Transgenic, cool mechanic.
Think botanic, still organic.
Busy beaver, lab-rat manic;
to you I might seem quite satanic
Delivering the fruits of Frankenfield.
I breathe the heady air. A deep infusion.
I feel furtive roots a-stirring. No brief illusion.
Shout Eureka, hide and seeker.
Giver, taker, money-maker.
Offered half a decent chance,
this could be a real earth-shaker.
Delivering the fruits of Frankenfield.
Nothing grows like this.
Don’t fall for prejudice.
Turn away from dark suspicion.
No ill wind blows like this.
Transgenic, cool mechanic.
Think botanic, still organic.
Busy beaver, lab-rat manic;
to you I might seem quite satanic
Delivering the fruits of Frankenfield.
I breathe the heady air. A deep infusion.
I feel furtive roots a-stirring. No brief illusion.
Transgenic, cool mechanic.
Think botanic, still organic.
Shout Eureka, hide and seeker.
Giver, taker, money-maker.
Offered half a decent chance,
this could be a real earth-shaker.
Delivering the fruits of Frankenfield.
Songs From The Wood
Recit.
I’m on to something: may be a good thing.
May be a bad thing but let’s give it a whirl.
I hope you know what the blazes you’re doing.
And don’t implicate this innocent girl
in dark fertilisations, your weird shoots and seedlings,
Forbidden oyster, mysterious pearl.
SONGS FROM THE WOOD
Let me bring you songs from the wood:
poppies red and roses filled with summer rain.
To heal the wound and still the pain
that threatens again and again
as you drag down every lover’s lane.
Life’s long celebration’s here.
I’ll toast you all in penny cheer.
Let me bring you all things refined:
Golden wheat and barley bright in palest ale.
Greetings well-met fellow, hail!
I am the wind to fill your sail.
When wet winds blow and harvests fail.
Inventor of new ageless times,
in kitchen prose and gutter rhymes.
Songs from the wood make you feel much better.
Let me bring you love from the field:
germination, growth and yields beyond your dreams.
It is precisely what it seems.
We are the cats who licked the cream;
the engineers who raised the steam.
Glad bringers of these ageless times
with kitchen prose and gutter rhymes.
Songs from the wood make you feel much better.
And The World Feeds Me
Recit.
The luminous light of the darkened laboratory
bathes him, cajoles him, nurtures and raises him
up from obscurity, muddling non-entity
climbs to new pinnacles where the clear view amazes him.
AND THE WORLD FEEDS ME
In strange and wonderful ways,
some things combine to make sweet alchemy.
Through grey and dangerous days,
I walked a line stretching out to the west of me,
Following the sun. Chasing the milky moon.
Investment morning, return in the afternoon.
I make my name and fortune, my name in history.
I feed the world and the world feeds me.
Patents and copyright laws
exist to protect and ensure my destiny.
Lawyers with sharp teeth and claws
further my aims to monetise botany.
Following the sun. Chasing the milky moon.
Investment morning, return in the afternoon.
I make my name and fortune, my name in history.
I feed the world and the world feeds me.
L’homme botanique.
I hide, you seek.
Don’t think to complain;
just ride the food train.
So what if I’m rolling in dough?
I worked my proverbials off to do right by you.
Hi-tech to reap what we sow;
my gift and my legacy there in plain sight of you.
Following the sun. Chasing the milky moon.
Investment morning, return in the afternoon.
I make my name and fortune, my name in history.
I feed the world and the world feeds me.
Living In The Past
Recit.
I miss those old days when we simpletons sallied
through woody leaf mould and as new lovers dallied
by trickly streams and tickly nettles
to lie where the whirling seed sycamore settles.
LIVING IN THE PAST
Happy and I’m smiling, walk a mile to drink your water.
You know I’d love to love you and above you there’s no other.
We’ll go walking out while others shout of war’s disaster.
Oh, we won’t give in, let’s go living in the past.
Once, I used to join in; every boy and girl was my friend.
Now there’s revolution, but they don’t know what they’re fighting.
Let us close our eyes; outside their lives go on much faster.
Oh, we won’t give in, we’ll keep living in the past.
Recit.
It’s all magick; smoke, mirrors, words woven, warmed in repetition,
folky lore, dark underscore and plain sedition.
JACK-IN-THE-GREEN
Have you seen Jack-In-The-Green
with his long tail hanging down?
He quietly sits under every tree
in the folds of his velvet gown.
He drinks from the empty acorn cup
the dew that dawn sweetly bestows.
And taps his cane upon the ground,
signals the snowdrops; it’s time to grow.
It’s no fun being Jack-In-The-Green.
No place to dance, no time for song.
He wears the colours of the summer soldier,
carries the green flag all the winter long.
Jack, do you never sleep ?
Does the green still run deep in your heart?
Or will these changing times,
motorways, power lines, keep us apart?
Well, I don’t think so;
I saw some grass growing through the pavements today.
The rowan, the oak and the holly tree
are the charges left for you to groom.
Each blade of grass whispers Jack-In-The-Green.
Oh Jack, please help me through my winter’s night.
And we are the berries on the holly tree.
Oh, the Mistlethrush is coming;
Jack, put out the light.
Recit.
You’ve been seduced, you silly man!
Get out of these clutches; escape while you can.
THE WITCH’S PROMISE
Oh, lend me your ear while I call you a fool.
You were kissed by a witch one night in the wood.
And later insisted your feelings were true.
The witch’s promise was coming.
Believing, you listened while laughing she flew.
Leaves falling, red, yellow, brown, all look the same.
And the love we had found lay outside in the rain.
Washed clean by the water but nursing its pain.
The witch’s promise was coming.
And we’re looking elsewhere for our own selfish gain.
Keep looking, keep looking for somewhere to be.
Well, you’re wasting your time, he’s not stupid like she is.
Meanwhile, leaves are still falling, you’re too blind to see.
You won’t find it easy now, it’s only fair.
I was willing to give to you, you didn’t care.
You’re waiting for more but you’ve already had your share.
The witch’s promise is turning.
So don’t you wait up for me: I’m going to be late.
Weathercock
Recit.
My old man never followed the obvious choice.
My old man stood into the wind and begged it blow harder.
In his way, he became the measure of
where we must go to fill up the larder.
Brave new world of chemical bending
DNA helical twist never-ending
WEATHERCOCK
Good morning Weathercock:
how did you fare last night?
Did the cold wind bite you,
did you face up to the fright
when the leaves spin from October
and whip around your tail?
Did you shake from the blast,
did you shiver through the gale?
Give us direction, the best of goodwill:
put us in touch with fair winds.
Sing to us softly, hum evening’s song.
Tell us what the blacksmith has done for you.
Do you simply reflect changes
in the patterns of the sky,
or is it true to say the weather heeds
the twinkle in your eye?
Do you fight the rush of winter,
do you hold snowflakes at bay?
Do you lift the dawn sun from the fields
and help him on his way?
Good morning Weathercock: make this day bright.
Put us in touch with your fair winds.
Sing to us softly, hum evening’s song.
Point the way to better days we can share with you.
Stick, Twist, Bust
Recit.
He’s caught between ethical circumstance
and moral dilemma; got to clutch at the chance to
figure it out and figure it in
to his messy equation, let the spinning wheel spin.
STICK, TWIST, BUST
Can’t stick the pig in the middle.
No faintly uncomfortable compromise.
Can’t find a fudge to fiddle.
No clear bright spot between the eyes.
Facing up to dilemma;
facing up to the bitter choice.
Still hands with barely a tremor.
Stick, twist, bust in a manly voice.
To reside in sublime rural idyll
or to build upon cities of high-rise hell?
Choose self-sufficient denial
or dig ever-deeper the trickling well.
Facing up to dilemma,
facing up to the bitter choice.
Still hands with barely a tremor.
Stick, twist, bust in a manly voice.
Find bountiful future salvation
or survivalist bubble with larder stocked.
Redemption in brave innovation
or to hide in quiet haven firmly locked?
Facing up to dilemma;
facing up to the bitter choice.
Still hands with barely a tremor.
Declare direction in firmer voice.
Facing up to dilemma,
facing up to the bitter choice.
Still hands with barely a tremor.
Stick, twist, bust. Stick, twist, bust. Stick, twist – bust.
Cheap Day Return
Recit.
The time has come; be a good son, a good man.
Better visit your dad, set things straight now if you can.
Last gasps are the worst gasps to suffer in guilt.
Let him dare to be proud, there’s a bridge to be built.
In a way, I drove him to strive and achieve.
So make it all right, let me take final leave.
CHEAP DAY RETURN
On Preston platform, do your soft shoe shuffle dance.
Brush away the cigarette ash that’s falling down your pants.
And you sadly wonder: does the nurse treat your old man
the way she should?
She made you tea, asked for your autograph.
What a laugh.
A New Day Yesterday
Recit.
That was then; this is now. All things change on a dime and how
they change, they change and we must follow. Sweet the pill; bitter to swallow.
Go on my son; finish first at the post.
Dare to shout “Boo” at the Holy Ghost.
All things pass in the blink of an eye.
A tentative teardrop, a sniff and a sigh.
A NEW DAY YESTERDAY
My first and last time with you
and we had some fun.
Went walking through the trees, yeah
and I kissed you once.
Oh, I want to see you soon but I wonder how.
It was a new day yesterday
but it’s an old day now.
Spent a long time looking
for a game to play.
My luck should be so bad now
to turn out this way.
I had to leave today just when I thought I’d found you.
It was a new day yesterday
but it’s an old day now.
The Turnstile Gate
Recit.
It’s a generation thing: fathers and sons
caught up in madness and holding the gun
to the heads of each other; I know how it’s done.
For God’s sake get on with it, till game it is won.
Till course it is run.
THE TURNSTILE GATE
One door opens, another one closes;
you buy your ticket to No-Way-Back.
Make Dad proud as you wonder aloud
on the steely rails of the new straight track.
I have to accept these realities;
the changes that urban anthills ring.
Colonies happy as Larry, the plentiful lamb.
in rite of passage, new rite of spring.
I sit and gaze at that far horizon
where on opposite balcony black crows wait
watching the man sit in puzzled reflection
as the ratchet clicks on the turnstile gate.
I have to accept these realities;
the changes that urban anthills ring.
Colonies happy as Larry, the plentiful lamb.
in rite of passage, new rite of spring.
Clock not for turning, lessons for learning
no way down on the up-escalator.
No abort switch, no power-off switch
foot hard down on the accelerator.
Lost your bottle? Forward throttle
through jaws of the turnstile alligator.
Recit.
Platform 9. All aboard! All aboard the gravy train.
Nowt wrong with breaking bread; the price of the ticket will keep you fed.
LOCOMOTIVE BREATH
In the shuffling madness of the locomotive breath,
runs the all-time loser, headlong to his death.
Oh, he feels the piston scraping, steam breaking on his brow.
Old Charlie stole the handle and the train,
it won’t stop going; no way to slow down.
He sees his children jumping off at stations, one by one.
His woman and his best friend in bed and having fun.
He’s crawling down the corridor on his hands and knees.
Old Charlie stole the handle and the train,
it won’t stop going; no way to slow down.
He hears the silence howling: catches angels as they fall.
And the all-time winner has got him by the balls.
He picks up Gideon’s Bible, open at page one.
I think that God, He stole the handle and the train
won’t stop going; no way to slow down.
No way to slow down.
no way to slow down.
Requiem and Fugue
Recit.
When all is said and all is done…
the man lies sleeping, we reminiscing…
counting blessings, sheep and shilling…
commended in rest, if God be willing.
REQUIEM AND FUGUE
Well, I saw a bird today, flying from a bush
and the wind blew it away.
And the black-eyed mother sun scorched the butterfly at play,
velvet-veined. I saw it burn.
With a wintry storm-blown sigh,
a silver cloud blew right on by.
And, taking in the morning, I sang O Requiem.
Well, my lady told me, stay. I looked aside and walked away
along the Strand.
But I didn’t say a word as the train timetable blurred
close behind the taxi stand.
Saw her face in the tear-drop black cab window
fading into the traffic. Watched me go.
And taking in the morning, heard myself singing O Requiem.
Here I go again; it’s the same old story.
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Post by Gerrald Bostock on Nov 16, 2015 16:06:55 GMT
JETHRO TULL Written and Performed by Ian Anderson Plays Atlanta April 16, 2016
(Concert At the Akron Civic Center Announces Presale For Nov. 19; Tickets On Sale November 20) The new JETHRO TULL concert tour returns to the States starting April 2016, in which Ian Anderson celebrates the life and times of English agriculturalist Jethro Tull. JETHRO TULL by Ian Anderson will be presented at the Fox Theatre on April 16. Presale date is November 19. Tickets are on sale on November 20. Online the ticket link is ev10.evenue.net/cgi-bin/ncommerce3/SEGetEventList?groupCode=JET&linkID=fta&shopperContext=&caller=&appCode=. Look for the ticket link to go live on the 19. The venue phone is 404-881-2100, and the website is foxtheatre.org/. Ian Anderson is known as the legendary frontman for the classic rock band Jethro Tull and reimagines his namesake with a narrative set in the near future. The show presents some of the best known songs from the repertoire of the band Jethro Tull. JETHRO TULL (The Story), written and performed by Ian Anderson runs from April 1 through the 16, with shows in Waukegan IL, continuing through the Midwest in Indiana, Michigan, Missouri, Nebraska, Ohio, Wisconsin, and in the south in Tennessee, Alabama and Atlanta. In JETHRO TULL, Ian touches on topical issues including including climate change, intensive food production and population growth. New material specially written for this show includes "Prosperous Pasture," "Fruits Of Frankenfield,” "And The World Feeds Me," "Stick, Twist, Bust," and "The Turnstile Gate." JETHRO TULL features amongst many Tull favorites "Heavy Horses," "Farm On The Freeway," "Songs From The Wood," "Aqualung," "Living In The Past," "Wind-Up," "A New Day Yesterday," "The Witch's Promise" and "Locomotive Breath," sometimes with slightly re-written lyrics to better tell the tale. The show has already played in the UK, Italy, Spain, Russia, Brazil and Argentina, recently finishing an eight day run in the North East U.S. to widely encouraging reviews. The Oakland Press writer Gary Graff offers: “A characteristically exceptional Tull concert…entertaining and original.” Blogcritics’ Jon Sobel writes that Ian Anderson has “got plenty of creative tricks up his sleeve.” philly.com’s A. D. Amarosi says that the show is “something new” and “weirdly winning.” Ian is accompanied by David Goodier (bass), John O'Hara (keyboards), Florian Opahle (guitar), Scott Hammond (drums) and surprise virtual guests on screen including Ryan O’Donnell who shared the stage with Ian in recent tours for HOMO ERRATICUS and THICK AS A BRICK and Icelandic singer/violinist/actress Unnur Birna Björnsdóttir who appears on screen throughout the show. In addition to U.S. dates in April and October 2016, JETHRO TULL will be performed by Ian Anderson in Czech Republic, Sweden and Germany plus more cities and countries to be announced. Look out for tour dates and much more information at www.jethrotull.com.
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Post by Gerrald Bostock on Nov 16, 2015 14:40:51 GMT
We don't normally get drawn into too many side issues here, and we certainly try to avoid politics, but tonight I think it's appropriate we pass on our thoughts to the victims and families of those who have been caught up in the carnage in Paris. While some argue over who's the best gutarist, what's the best album, France has declared a national state of emergency and there are 100+ music fans who have been killed and more held hostage at the Bataclan concert hall in central Paris where The Eagles of Death Metal were playing. The world has gone quite mad and life is far too short for this sort of shit. Pat so eloquently stated, those disagreements about who's better or what is best seem so small and petty when we see what has happened. Sad.. the world has turned upside down, lets hope it rights itself soon. David I am glad your friend is OK.
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