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Post by Gerrald Bostock on Nov 2, 2015 14:01:50 GMT
Ian Anderson brings historic Jethro Tull to life onstage
By Steve Smith Globe Staff October 31, 2015 The show that arrives for a one-night stand at the Citi Wang Theatre on Thursday night has been a long time coming: either 48 years or around 300, depending on your view. “Jethro Tull — The Rock Opera” is the brainchild of Ian Anderson, the distinctive singer, flutist, and songwriter who led the band Jethro Tull from its formation in 1967 until it disbanded in 2014. But Anderson’s new project is also based in part on the original Jethro Tull: a pioneering English agriculturist active at the turn of the 18th century. According to Anderson, his thoughts turned to his long-running group’s historic namesake during a trek through rural farming country in Northern Italy while on tour last year. “I thought, wow, this is kind of interesting, the way they do things here as opposed to how we do it in the UK: different crops, different cropping methodologies, different ways of doing things,” Anderson related in a telephone interview. “And I just thought, I wonder what old Jethro Tull would have made of this, if he’d traveled to these parts and seen how they did things?” A Google search revealed that the historic Tull had indeed toured Italy and France, taking stock of methods that he would later apply in his own agricultural innovations. “And then a whole bunch of other things, weirdly and coincidentally, seemed to come off the page — or off the screen of my computer — in the sense that they immediately conjured up elements of songs that I’d written,” Anderson said. As an exercise, he mentally shuffled through the 48 years’ worth of songs he’d written. “I was astonished to find I quickly had 20 songs written down that seemed to be related in some way to elements of his life.” He laid plans for a show built around those Tull-related tunes, incorporating theatrical elements, performers on video screens, a handful of new songs, and a narrative framework to bind it all together. Initially he resisted the term “rock opera,” a coinage tied at best to the Who’s “Tommy” — and worst, perhaps, to Spinal Tap’s great unfinished “Saucy Jack.” “I knew that I didn’t want to put this into some narrative song collection to play onstage that was somehow set in the 18th century,” Anderson said. “I thought that would be too pastiche, a little bit too historical, and a little twee. Period dramas don’t interest me a great deal.” Instead, his Tull is a 21st-century agricultural scientist: an occupation that Anderson, who for 20 years successfully operated English salmon farms, clearly has thought a great deal about. More than just a greatest-hits revue — though Anderson admits it’s that — “Jethro Tull — The Rock Opera” is also meant to provide food for thought. “It is talking about the inevitability of the need for very innovative agricultural science and engineering to combat the threat to our traditional crop-growing areas through climate change,” Anderson declared. “The degree to which it is man-made is always going to be argued, but we can’t escape the facts: We’ve known for 30 years now that climate change is a reality, and within the lifetimes of my children and my grandchildren will have some fairly profound effects — not the least of which will be on the food-producing areas of the world.” With the global population projected nearly to double by century’s end, Anderson explained, “the world is going to need another Jethro Tull, or two, or three — and hopefully they won’t just be employees of Monsanto.” Part of their mission, he asserted, will be to overcome fear of agricultural engineering. “Genetically modified foodstuffs and organisms, cloning — these are all part of the arsenal of things that we can do, and we are going to have to do them.” Message notwithstanding, Anderson conceives of “Jethro Tull — The Rock Opera” as bigger-than-life entertainment made manageable and portable. Interacting with costars who appear on video screens, he said, allows him to tour with exactly who he wants — in particular, singers Ryan O’Donnell and Unnur Birna Björnsdóttir, who had conflicting engagements — and to do so economically. “Some people think I’m too mean to pay them,” he said, laughing. “But I can assure you they do get paid: not only for their original recordings, but they get paid per show as virtual guests.” Meanwhile, the benefit to audiences in having a theatrical production that can be transported efficiently and mounted reliably, regardless of destination, is substantial. “It’s a challenge,” Anderson said, “but in this day and age of technology, a challenge that can be met satisfyingly, and successfully brought into the world a theatrical show for people who want to enjoy something more than five guys in T-shirts and jeans, going on playing the fading glory years of time in the past.”
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Post by Gerrald Bostock on Oct 29, 2015 15:07:45 GMT
Whats more fitting for this time of year ..... "Heavy Horses" and as the opening to Rock Opera that is set to hit our shores in a few days !!! "iron clad-feather- fee tpouding the dust An October sky towards evening.. Sweatembossed veins standing proud to the plough Last of the line at an honest day's toil "
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Post by Gerrald Bostock on Oct 29, 2015 0:12:03 GMT
great interview..thanks to Ian for answering these questions
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Post by Gerrald Bostock on Oct 28, 2015 18:28:36 GMT
WTF !!!!
Rolling Stone agazine picks a Tull LP #7 for all time Prog Albums
7 Jethro Tull, 'Thick as a Brick' (1972) Jethro Tull, 'Thick as a Brick' Miffed that many critics mistook 1971's Aqualung for a concept album, Tull leader Ian Anderson decided to follow it up by parodying the entire concept-album concept. Consisting of one nearly 44-minute song stretched across a dizzying array of movements, Thick as a Brick came wrapped in a Monty Python-esque newspaper sleeve that attributed the song's lyrics to a fictional schoolboy and even "reviewed" the album within. It was a brilliant prank — one so seamlessly executed, in fact, that most people didn't get the joke. Not that they needed to in order to enjoy it. As Rolling Stone noted at the time, "Whether or not Thick as a Brick is an isolated experiment, it's nice to know that someone in rock has ambitions beyond the four- or five-minute conventional track, and has the intelligence to carry out his intentions, in all their intricacy, with considerable grace." D.E. Read more: www.rollingstone.com/music/lists/50-greatest-prog-rock-albums-of-all-time-20150617/jethro-tull-thick-as-a-brick-1972-20150617#ixzz3pt8fFlrB Follow us: @rollingstone on Twitter | RollingStone on Facebook
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Post by Gerrald Bostock on Oct 28, 2015 16:29:35 GMT
Jethro Tull - The Rock Opera - Tour Italy 2015 www.persinsala.it/web/concerti-musica/jethro-tull-the-rock-opera-tour-italy-2015-2157.htmlJethro Tull - The Rock Opera - Tour Italy 2015 by Editorial Staff the 10/24/2015 Posted in Concerts , News Flash Press release Jethro Tull "Come and see Jethro Tull, The Rock Opera". This is the invitation of the pioneer of progressive rock and leader of the band Jethro Tull, Ian Anderson, who returns with his band in a new adventure music: a new tour that will visit the ' Italian captive for three dates: 29 November to Bologna (Auditorium Manzoni), 30 in Turin ( Teatro Coliseum) and December 1 in Bergamo ( Theatre Creberg). The new live Jethro Tull - The Rock Opera honors the history and life of the agronomist and inventor English Jethro Tull, from which the band took inspiration in 1968, imagine here in the near future. The performance has a structure almost lyrical , and will be illustrated by the most popular songs of the repertoire of Jethro Tull. Heavy Horses, Farm On The Freeway, Songs From The Wood joined by Aqualung, Living In The Past, Wind-Up, A New Day Yesterday, The Witch's Promise, Locomotive Breath and other songs of the most famous, often with texts slightly revised to harmonize the elements of the story. A unique homage and revisiting songs historical Jethro Tull with new video and some special effects for non-English speakers. An unmissable opportunity for the many fans of progressive rock to witness a new amazing show of legendary Ian Anderson, the man who popularized the flute in the rock world. After more than 65 million records sold and 4,000 concerts in 54 countries with Jethro Tull, Anderson continues to attract audiences around the world and to walk the amazing stages of a creative and on. Along with the band leader Ian Anderson on stage there will be David Goodier on bass, John O'Hara on keyboards, Florian Opahle on guitar, Scott Hammond on drums and some special guests in the virtual screen. The tour started from the UK, to continue in Russia and South America. Jethro Tull - The Rock Opera featuring Ian Anderson Ian Anderson, David Goodier, John O'Hara, Florian Opahle, Scott Hammond Italian Tour 2015 on November 29 Bologna , Auditorium Manzoni www.auditoriumanzoni.itNovember 30 Turin , Coliseum Theatre http: //www.ventid December 1 Bergamo , Teatro Creberg www.crebergteatrobergamo.it
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Post by Gerrald Bostock on Oct 28, 2015 16:20:38 GMT
www.patriotledger.com/article/20151028/ENTERTAINMENT/151025747SOUNDS AROUND TOWN: Tull founder tells of the real Jethro Tull By Ed Symkus/Daily News Correspondent Posted Oct. 28, 2015 at 11:53 AM Updated at 12:00 PM The British band Jethro Tull has been around since 1968. The British agriculturist/inventor the band took its name from was around from 1674-1741. Last year, Ian Anderson, the flutist-guitarist-vocalist-songwriter who has fronted the ever-changing group of players from the start, had a musical light bulb pop on while driving through northern Italy. That idea led to a new project and a concert at the Wang Theatre on Nov. 5. Anderson spoke about “Jethro Tull: The Rock Opera” by phone from his home in Wiltshire County, England. “I was traveling through some farmland and wondering to myself what old Jethro Tull might have made of farming in Italy, and since I had an Internet connection in the car, I looked up some elements of his life story. And some of them seemed to echo elements of songs that I’d written.” Anderson made a list of his songs that could be connected, no matter how loosely, to Farmer Tull, including “Songs from the Wood,” “Living in the Past,” “A New Day Yesterday,” “Farm on the Freeway,” and “Aqualung.” “Suddenly I had a show’s worth of music incorporating material that you would loosely describe as the best of Jethro Tull,” he said. “So straightaway, I had a new show! The only thing that I had to do was to incorporate elements of the story which I didn’t have a song about by writing five short new songs. And I decided I would put his life and times into the contemporary age, and reimagine Jethro Tull’s story as happening perhaps in the near future. So I made him a whiz kid biochemist working on new technologies for genetic modification and cloning and advanced techniques for feeding the world. In the face of a fast-growing population and climate change and the enormity of having to compensate for loss of crop growing and livestock-producing areas, we’re going to have to get pretty clever about feeding the world. So I thought this was good fodder for a more topical approach to the re-imagined life of Jethro Tull.” Anderson will be joined onstage by the four musicians who have made up the band Jethro Tull for the past decade, along with video appearances of singers incorporated into the show playing the characters of Tull’s father, Tull’s wife, flashbacks to a young Tull, and the son of Tull. “Some of the lyrics in the songs have been slightly rewritten to fit this show,” said Anderson. “It was mostly as simple as changing pronouns. You know, I becomes he, or she becomes me. It’s just changing things so the characters can sing their lines. There were a few songs where there was a new chorus line, but the musical arrangements are very much as we recorded them on their respective records.”
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Post by Gerrald Bostock on Oct 28, 2015 15:03:39 GMT
www.brownpapertickets.com/event/1633470Martin Barre (of Jethro Tull) w/ Blue Cat Groove Spire Center for Performing Arts Plymouth, MA Event Martin Barre (of Jethro Tull) w/ Blue Cat Groove Martin Barre is the Grammy-award winning guitarist who played in Jethro Tull for 43 years, contributing to their success in a major way. The band represents an important part of classic rock history, with over 60 million albums sold. Martin's guitar playing has earned him a high level of respect and recognition. He was voted 25th best solo ever in the U.S. for his playing on "Aqualung," and he received a Grammy award for his playing on the album "Crest of a Knave" in 1988. He also influenced such contemporary guitarists as Joe Bonamassa, Steve Vai, Joe Satriani and Eric Johnson. In addition to Jethro Tull, Martin has worked with top artists like Paul McCartney, Phil Collins, Gary Moore, and Chris Thompson and has shared the stage with legends like Jimmy Hendrix, Fleetwood Mac, Pink Floyd and Led Zeppelin. For this special intimate show at The Spire, Martin has put together a stellar, full band to play the classic music from the Jethro Tull catalogue in order to give the audience a chance to hear the hits and songs that have not been performed for many years. Rhythm and blues band Blue Cat Groove, of the Greater Boston Area, open the show. All sales final. No refunds or exchanges.
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Post by Gerrald Bostock on Oct 27, 2015 14:58:13 GMT
I think the world of popular music as we have known has changed drastically in the past 15 years. With the advent of music downloads and the digital era, music is like today's technology, we out grows before we can get used to what we have. So music changes faster to latest fad to where ever the audience takes, so their are fewer and fewer bands out there that stand up(no pun intended). I also think that music listening habits are totally alien to a lot of folks, not like when we would sit a listen to the latest vinyl. Life is too fast paced in the digital age for most. So maybe Ian's magic is just that, disappearing to some but will be able to reappear for generations for those willing to lend an ear,
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Post by Gerrald Bostock on Oct 27, 2015 14:35:33 GMT
When Jethro Tull returned to the USA in November 1969 The song "Fat Man" had an extra verse in it, The second verse was something like this:
Have you ever sen a fatman
I see trouble when he moves his feet
xxxxxx
Nice to ignore the things he says
Loves the excuse to be that way
xxxxxx,
Its hard to make out the words...LOL
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Post by Gerrald Bostock on Oct 27, 2015 14:32:27 GMT
MARTIN's DATE with ticket links 15-19 November - Cruise to the Edge, Florida cruisetotheedge.com/the-artists/21 November - Arts Garage, Delray Beach, Florida artsgarage.org/24 November - Fayette Civic Centre, Alabama fayetteal.org/visitors/civic-center/25 November - Blue Canoe, Tupelo, MS, USA www.bluecanoebar.com/28 November - Bears on Fairfield, Shreveport, LA bearsonfairfield.com/29 November - Duling Hall, Jackson, MS www.ardenland.net/event/849761-martin-barre-jackson/2 December - Smith's Old Bar, Atlanta, GA www.smithsoldebar.com/3 December - The Grey Eagle, Asheville thegreyeagle.com/tickets/4 December - Harvester Performance Center, Rocky Mount,VA harvester-music.com/event.cfm?id=2185596 December - Jammin Java, Vienna, VA www.ticketfly.com/purchase/selectSeats10 December - Sellersville Theater, Sellersville, PA 11 December - Eclipse, Binghamton, NY www.ticketfly.com/purchase/event/91668313 December - Beachland Ballroom and Tavern, Cleveland,OH www.beachlandballroom.com/15 December - The Lovin' Cup, Rochester, NY www.bopshop.com/event/martin-barre-band/18 December - Spire Center, Plymouth, MA www.brownpapertickets.com/event/163347019 December - Rockwood Music Hall, New York, NY www.ticketfly.com/event/932399
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Post by Gerrald Bostock on Oct 26, 2015 12:05:59 GMT
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Post by Gerrald Bostock on Oct 26, 2015 11:01:54 GMT
SUNSHINE OF YOUR LOVE-A CONCERT CELEBRATING THE LIFE AND MUSIC OF JACK BRUCE
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Post by Gerrald Bostock on Oct 25, 2015 17:04:16 GMT
Welcome to your nightmare...LOL..
Cod piece wearing is prohibited !!!!..except on Tuesday..but you will also have wear a hat
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Post by Gerrald Bostock on Oct 22, 2015 14:31:06 GMT
Detroit Promo
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Post by Gerrald Bostock on Oct 22, 2015 11:25:30 GMT
a promo for Philadelphia
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Post by Gerrald Bostock on Oct 22, 2015 1:19:33 GMT
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Post by Gerrald Bostock on Oct 21, 2015 19:21:57 GMT
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Post by Gerrald Bostock on Oct 21, 2015 13:05:46 GMT
Ok folks, with the United States leg of the Jethro Tull the Rock Opera set to start soon there are many seats to each show still available. I checked these venues this morning and this is what I have found for availability, even the ones that would not let you search the venue map still have multiple seats in almost every section. So please go out and grab some tickets this show is almost sold out.....lets fill it seems there are many seats to go!!!! Lets go support the band Not a bad seat in this venue, it is a beautiful theater Another great place to see a show.....
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Post by Gerrald Bostock on Oct 20, 2015 16:50:53 GMT
Please welcome our newest member Alex !!!!!
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Post by Gerrald Bostock on Oct 20, 2015 14:46:54 GMT
Martin Barre Talks About Jethro Tull Memories, New Music and More: Exclusive Interview By Ryan Reed October 19, 2015 10:10 AM Jethro Tull played their last concert in 2011, when main songwriter Ian Anderson retired the band and moved forward under his own name and a revamped lineup. That decision came as a “personal shock” to Martin Barre, Tull’s longest-serving non-Anderson member (at 43 years) and one of rock’s most formidable guitarists. But the shift hasn’t slowed him down one bit. Barre has recorded a trio of solo LPs over the past three years, including Back to Steel, which he released last month. Like the Martin Barre Band live show, the album summarizes his varied musical interests: blues, traditional folk, hard and progressive rock, with vintage Tull tracks (“Skating Away,” “Slow Marching Band”) thrown in for good measure. We recently spoke with Barre as he prepared for some upcoming gigs, as well as Yes’ annual floating fest, Cruise to the Edge. Along the way, the guitarist discussed his new LP, the most underrated Tull album and his creative determination. Your guitar work on Back to Steel is excellent, as usual. I especially enjoy the instrumental “Hammer.” I’ve always written instrumentals. With this album, I was trying to concentrate on songs –being a four-piece band, I like to do complete songs. But I just thought, “I’ve written a lot of instrumentals over the last five or six solo albums, so let’s sit down and write something a bit uplifting, a bit upbeat.” I just really had it in mind as something that would work really well onstage. It’s good fun to play live. I also really like “It’s Getting Better” — that blend of bluesy stuff with the mandolins and other interesting textures. I love using mandolins and bouzoukis, which I think is a great sound in rock music – ever since the Eagles used banjo. It’s such a cool sound: a sharp, attacking little edge. Just on the periphery of the music. I really love doing that. It just sort of drives it along. I’m not aiming for anything but seeing where the music goes, and if it looks good, I keep pursuing it to the end. I really enjoy my songwriting and arranging. It makes sense that you’d cover “Skating Away” on the album because that’s a signature Tull tune. But I was surprised to see the more obscure “Slow Marching Band” from 1982’s The Broadsword and the Beast — how did you decide on tackling that one? We recorded that a year ago. And the recording was sitting, gathering dust. I’d finished the album. I wanted to add another Tull song to change the set and the arrangement to make it more personal. Every time I went back to that finished version of “Slow Marching Band,” I just thought, “I love that song.” And the only reason I recorded it is because I think it’s one of the best Tull songs in the whole catalog. I also wanted to add girls’ voices to it because that chorus is such a stirring line. I like it being the last track because it’s a very anthemic piece of music. It’s interesting – ever since the end of Jethro Tull, you’ve been especially prolific with your solo career. Do you feel more freed up in a way to pursue another side of your musical personality? I don’t feel freed up. I didn’t leave Jethro Tull because Jethro Tull finished. It’s important that people realize there will never be a Jethro Tull again. There will be two solo bands: the Ian Anderson Band and the Martin Barre Band, and long may they exist, and long may they enjoy play music. I’m not being pedantic. I always hate to hear, “Oh, you’ve left Jethro Tull.” I haven’t really. Ian wanted to finish Jethro Tull, wanted to stop the band completely. I’ve had 43 years of fantastic memories, and I’ve loved working with all the musicians within the Jethro Tull family. So for me it was a big personal shock to finish, and luckily I’ve done solo albums, a few fun tours as a parallel to the Jethro Tull thing. So I had a leg up, but essentially the floor was pulled from underneath me, and I had a month to reorganize my life and start from the beginning again. I am free, but I wasn’t looking for freedom. I already had it. It’s important that people know I was always musically happy because I was able to do a solo album every three or four years when I had the time. I was able to get a little band and take them on the road. I’ve always had that option, and it was always really important to me because it enabled me to play the music Jethro Tull didn’t have within the band. It was always great to have it, and obviously it’s sort of musically natural to continue as a solo artist. But it was very difficult on a business footing, an emotional footing, and a practical footing. I’ve had four years, and I had two very difficult years and two very good years. I’m beginning to establish some sort of band reputation, and I love it because it’s me – my neck’s on the line, for better or worse. But I quite like that. I really like being put in the deep end. I’ve had a lot to do, but I thrive on it. Musically, it’s been a fantastic thing for me to say, “Right, come on. You write music, don’t you? You’ve written some songs? Okay then. Get back in the studio and show people what you’ve got.” There’s a lot of gossip that goes on, and that doesn’t do anybody any good. I’m a very happy person, and I believe Ian is a very happy person too. The end result is very good, but it has been very tricky. It’s important to me because Jethro Tull, as an entity, doesn’t exist. The work that was done by all these people – me, Dave Pegg, David Palmer, John Evan, Barrie Barlow, Eddie Jobson – all their work is really written in stone, and they were part of Jethro Tull. And now there is not a Jethro Tull. Maybe there will be in five or 10 years, but probably not. It doesn’t exist in its pure form – in my mind, in any form. I’m not Jethro Tull. I’m playing 40 percent Tull tracks, but I’m not Jethro Tull at all. I’m Martin Barre. Even thought it’s horribly sad that Jethro Tull doesn’t exist, the silver lining is that now there are these two entities touring and bringing more of the catalog to more people. Yeah, I think that’s the case. And I haven’t necessarily played the music exactly how it was, so I can’t be accused of being a lesser version of Jethro Tull – or Jethro Tull without the flute player. So I’ve been very careful to change it a little bit in a respectful way but put my stamp on it. But it’s sad because I see bands like Fleetwood Mac and the Eagles and Toto out there having very successful tours. They’re very special bands, and they’re enjoying a resurgence of interest from that era. But unfortunately we’re not part of that. Jethro Tull’s 1980 album, A, just celebrated its 35th anniversary. That’s such a strange and unique album in the Tull catalog, especially since it originated from an Ian Anderson solo album. But it’s very underrated in my opinion. Do you have any memories from that time? Essentially it was going to be an Ian solo album. He wanted to do something a bit different, and we all thought, “Great, good idea!” At the time, I was beginning to write music and thinking about recording my own stuff. That’s when Dave Pegg joined the band. He got a new drummer, Mark Craney, and Eddie Jobson. I was very humbled when Ian called and asked, “Do you want to play guitar on the album?” And I said, “It’s a solo album – don’t you want to work with somebody different to get a different take on the music? This is a very good opportunity to work with completely other people.” And Ian said, “No, I want to work with you.” Which was incredibly nice. Then, of course, at that point, I couldn’t say no, and I wanted to do it anyway. So that’s what happened. It changed. I think when the record label saw it was me and Ian and a bunch of really good songs, they persuaded Ian to make it a Jethro Tull album. There wasn’t a Jethro Tull band because John Glascock had died, and Dave Pegg was new on the bass. It was a period of change within Jethro Tull anyway, so it was very natural that this solo album became Jethro Tull. But I agree – it was a lot of energy, that album. Eddie, Mark and Dave brought so much. It was a great combination of players. I know you’ve considered putting together a tour with the classic Jethro Tull lineup – Barrie Barlow and John Evan and those guys. Have you thought any more about that? Yeah, I have – in a very informal way. I talk to Barrie quite rarely. I love Clive Bunker, and he would definitely do it. And Barrie would definitely do it, so we’d have two drummers. Jeffrey Hammond wouldn’t do it because he doesn’t play music at all. And I don’t think John would either because he stopped playing music, which is very sad. Sadly, Glenn [Cornick] passed away. It’s a tricky one. It could happen. It could be good, but really if you’re gonna do that, have Ian as well. Have everyone from every era that would do it: a big band that could come and play two songs, leave the stage. It could be a big, fabulous thing. But it’s just an idea. Maybe a promoter with a lot of imagination and a lot of persuasion could pull that together, but right now I can’t. Yes did a similar thing in the early ’90s where they brought these two versions of the band together for the Union tour. That’s fantastic. And, of course, it works because you’ve got such a huge catalog. The one thing I’ve always through Tull should do is the story of the band onstage. Start with the early days, even Mick Abrahams – I don’t know if he can play, but if he could, the first song would be the original band playing some blues. It would be a big production through the years, and it morphs through different styles. It could be fantastic. Speaking of Yes, I’m sure you heard about the passing of Chris Squire. I wondered if you have any memories of Chris or Yes. Unfortunately, I only met [Squire] in a very informal way, just a few words every time we met. Being a guitar player, me and Steve [Howe] know each other very well. And I know Jon Anderson quite well. We’ve rarely played together, unfortunately. But the whole thing with [Squire’s passing] was obviously devastating and very sudden, and I felt terrible for the band. It’s very brave for them to continue in his memory and do the Cruise to the Edge project as a tribute to him. I’m sure they’ll do it in a very proper and apt way. This will be your first Cruise to the Edge — what sort of expectations do you have? Have you figured out your set list? Do you have any deep Tull tracks planned? It’s gonna be so much fun. I just hope we’ve got a very long set because I could play two-and-a-half, three hours of music. Well, I’d better not say that. But the whole thing will be a real pleasure because I’ll be playing for people who’ve never heard us. They’ll have no idea what they’re going to hear, and for me, that’s the best thing ever. I’m presuming and believing they’re going to have a very pleasant surprise. I think the whole idea is really cool – it’s a great concept, and I’m looking forward to it very much. The set we have now is very strong, and it’s quite an eclectic mix of Tull classics and blues standards, and now we have the new CD to draw from. The difficulty with the set list is which ones not to play. I’m not really making any commitments. We sort of do what we do, and it will be a fair representation of what we’ve been doing this year. We’ll have a strong Tull connection. Read More: Martin Barre Talks About Jethro Tull Memories, New Music and More: Exclusive Interview | ultimateclassicrock.com/martin-barre-interview-2015/?trackback=tsmclipultimateclassicrock.com/martin-barre-interview-2015/…
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Post by Gerrald Bostock on Oct 14, 2015 13:45:16 GMT
Part 1
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Post by Gerrald Bostock on Oct 14, 2015 13:20:53 GMT
The Rock Opera ...video from Moscow September 18 2015 Crocus City Hall
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Post by Gerrald Bostock on Oct 14, 2015 12:57:56 GMT
This is the Home Version found on the CD Single in the USA
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Post by Gerrald Bostock on Oct 14, 2015 12:27:01 GMT
also ...France and Germany
16 October - La Poudriere, Leffrinckoucke, FRANCE - Tickets
17 October - Le Froum, Vaureal, FRANCE - Tickets
21 October - Downtown Blues Club, Hamburg, GERMANY - Tickets
22 October - Heimathaus, Twist , GERMANY - Tickets
23 October - Speicher, Schwerin, GERMANY - Tickets available on the door
24 October - Club Tante, Dresden, GERMANY - Tickets
25 October - Textilmuseum, Helmbrechts, GERMANY - Tickets
27 October - Fabrik, Bruchsal, GERMANY - Tickets
28 October - Colos Saal, Aschaffenburg, GERMANY - Tickets
29 October - Rex Musiktheater, Bensheim, GERMANY - Tickets
31 October - Blues Garage, Isernhagen, GERMANY - Tickets
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Post by Gerrald Bostock on Oct 14, 2015 12:14:34 GMT
MARTIN IS TOURING THE USA
15-19 November - Cruise to the Edge, Florida, USA - Tickets
21 November - Arts Garage, Delray Beach, Florida, USA - Tickets
24 November - Fayette Civic Centre, Alabama, USA - Tickets
25 November - Blue Canoe, Tupelo, MS, USA - Tickets
28 November - Bears on Fairfield, Shreveport, LA, USA - Tickets
29 November - Duling Hall, Jackson, MS, USA - Tickets
December 2015
2 December - Smith's Old Bar, Atlanta, GA, USA - Tickets
3 December - The Grey Eagle, Asheville, USA - Tickets
4 December - Harvester Performance Center, Rocky Mount,
VA, USA - Tickets
6 December - Jammin Java, Vienna, VA, USA - Tickets
10 December - Sellersville Theater, Sellersville, PA, USA - Tickets
11 December - Eclipse, Binghamton, NY, USA - Tickets
13 December - Beachland Ballroom and Tavern, Cleveland,
OH, USA - Tickets
15 December - The Lovin' Cup, Rochester, NY, USA - Tickets
18 December - Spire Center, Plymouth, MA, USA - Tickets
19 December - Rockwood Music Hall, New York, NY - USA - Tickets
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Post by Gerrald Bostock on Oct 12, 2015 19:50:24 GMT
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Post by Gerrald Bostock on Oct 12, 2015 14:36:10 GMT
...A little piece from Classic Rock Magazine: ultimateclassicrock.com/jethro-tull-too-old-to-rock-n-roll-reissue/A new expanded edition of Jethro Tull‘s Too Old to Rock ‘n’ Roll: Too Young to Die! will include an alternate version of the 1976 album that was recorded for a British television special. Originally a Top 20 hit in the U.S., Too Old to Rock ‘n’ Roll: Too Young to Die! is set to be reissued in two-CD/two-DVD, vinyl and single-disc formats on Nov. 27. Nearly 20 previously unreleased bonus tracks, and the content from that British TV show, were remixed by Steven Wilson. The DVD booklet features 80 pages of history, including the story of the album, track-by-track annotations by Ian Anderson and rare photographs. You can see the complete track listings for the various formats below. Too Old to Rock ‘n’ Roll: Too Young to Die!, Tull’s first project with bassist John Glascock, was envisioned as a stage musical about an aging rock star, before Anderson and band decided to abandon those ambitious plans. Instead, the songs were fashioned into the group’s ninth studio album and the follow-up to 1975’s Minstrel in the Gallery, which was also recently reissued with an anniversary remix by Wilson. Jethro Tull’s ‘Too Old to Rock ‘n’ Roll: Too Young to Die!’ Reissue Track Listing Disc 1 (Re-recorded album for TV special; all songs previously unreleased) “Prelude” “Quiz Kid” “Crazed Institution” “Salamander” “Taxi Grab” “From a Dead Beat to an Old Greaser” “Bad Eyed and Loveless” “Big Dipper” “Too Old to Rock ‘n’ Roll: Too Young to Die!” “Pied Piper” “The Chequered Flag (Dead or Alive)” (Five original LP tracks) “Too Old to Rock ‘n’ Roll: Too Young to Die!” “The Chequered Flag (Dead or Alive)” “Big Dipper” “From a Dead Beat to an Old Greaser” “Bad Eyed and Loveless” (Monte Carlo Out-Take; previously unreleased) “Quiz Kid” (Version 1) Disc 2 “Salamander’s Rag Time” “Commercial Traveller” “Salamander” (Instrumental) “Small Cigar” “Strip Cartoon” “One Brown Mouse” – Early Version (Original Master Mix) “Strip Cartoon” – (Original Master Mix) “A Small Cigar – Orchestral Version (Original Rough Mix) “Too Old to Rock ‘n’ Roll: Too Young to Die!” – Demo (Paris -July 1975) (Original album flat transfer) “Prelude” “Quiz Kid” “Crazed Institution” “Salamander” “Taxi Grab” “From a Dead Beat to an Old Greaser” “Bad Eyed and Loveless” “Big Dipper” “Too Old to Rock ‘n’ Roll: Too Young to Die!” “Pied Piper” “The Chequered Flag (Dead or Alive)” DVD Disc 1 TV Special Footage in DTS, Dolby Digital 5.1 surround sound, and Dolby Digital Stereo TV Special (audio only) in 96/24 stereo PCM Five Original LP Tracks in DTS, Dolby Digital 5.1 surround sound and 96/24 stereo PCM DVD Disc 2 (In DTS, Dolby Digital 5.1 surround sound and 96/24 stereo PCM) “Salamander’s Rag Time” “Commercial Traveller” “Small Cigar” (Acoustic) “Strip Cartoon” (In 96/24 stereo PCM) “Quiz Kid” (Version 1) “One Brown Mouse” – Early Version (Original Master Mix) “Salamander” (Instrumental) “Strip Cartoon” – (Original Master Mix) “A Small Cigar – Orchestral Version (Original Rough Mix) “Too Old to Rock ‘n’ Roll: Too Young to Die!” – Demo (Paris -July 1975) Flat transfer of the original LP at 96/24 PCM Flat transfer of the original 1976 Quad LP Production Master with DTS 4.0 and Dolby Digital AC3 4.0 surround sound Read More: Jethro Tull's 'Too Old to Rock 'n' Roll: Too Young to Die!' to Get Expanded Reissue | ultimateclassicrock.com/jethro-tull-too-old-to-rock-n-roll-reissue/?trackback=tsmclip
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Post by Gerrald Bostock on Oct 9, 2015 0:25:17 GMT
this is a link that was sent to me regarding the cancellation of the show: www.agendamusical.cl/ian-anderson-jethro-tull.../Ian Anderson cancela concierto con lo mejor de Jethro Tull en Chile: 14 de octubrePor agendamusical el 2 octubre, 2015 IanAnderson_afiche La leyenda del rock progresivo, Ian Anderson, decidió cancelar su regreso a Chile del 14 de octubre en el Teatro Caupolicán. Ian Anderson realizaría esta gira, mientras en algunos países presenta la gira Jethro Tull – The Rock Opera. Esperamos tener más información sobre los motivos. Así, podremos disfrutar clásicos como “Aqualung”, “Living In The Past”,”Wind-Up”, “A New Day Yesterday”, “The Witch’s Promise” y “Locomotive Breath”. Anderson ha actuado en más de 54 países en sus más de 45 años de carrera. Considerado un ícono del rock progresivo, ha sido reconocido como el único gran intérprete de flauta en la música rock. Con más de 60 millones de discos vendidos en su carrera, Anderson dio a Jethro Tull la distinción de un sonido único. Las entradas estaban a la venta a través del sistema Ticketek (Falabella y Cine Hoyts) y los precios eran: Tribuna: $ 15.000 Platea: $ 20.000 VIP: $ 40.000 Golden: $ 50.000 Primeras filas: $ 60.000 Palco: $ 80.000 La devolución de dinero se realizará desde el lunes 5 de octubre a través de los mismos puntos de venta donde fueron compradas las entradas, para compras realizadas por internet debes dirigirte a la oficina Ticketek ubicada en La Concepción 266 – oficina 503, Providencia. Cualquier consulta a serviciocliente@ticketek.cl English Translation from google: Progressive rock legend, Ian Anderson , decided to cancel his return to Chile of October 14 in the Caupolicán Theatre. Ian Anderson would make this tour while in some countries has the Jethro Tull tour - The Rock Opera. We hope to have more information about the reasons. So, you can enjoy classics like "Aqualung", "Living In The Past", "Wind-Up", "A New Day Yesterday", "The Witch's Promise" and "Locomotive Breath". Anderson has performed in over 54 countries in its 45-year career. Considered an icon of progressive rock, it has been recognized as the only major interpreter of flute in rock music. With over 60 million albums sold in his career, Anderson gave Jethro Tull the distinction of a unique sound. Tickets were on sale through the system Ticketek (Falabella and Cine Hoyts) and prices were: Tribune: $ 15,000 Platea: $ 20,000 VIP: $ 40,000 Golden: $ 50,000 First row: $ 60,000 Palco: $ 80,000 The cash will be held from Monday, October 5 through the same outlets where the tickets were purchased, for purchases made over the Internet should go to the Ticketek office in La Concepción 266 - Office 503, Providencia. Any consultation serviciocliente@ticketek.cl
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Post by Gerrald Bostock on Oct 7, 2015 18:57:15 GMT
Jethro Tull 2 hrs Regretfully, we have to confirm reports of the cancellation of our concert in Santiago at the Teatro Caupolican on the 14th October. I learned of this only through postings on the internet last Saturday. I have tried to contact the venue to discover the reasons for this cancellation. They have not replied to my email. Our international South American promoter tells me that the venue cancelled the concert due to a dispute with the local promoter in Santiago. An alternative venue was apparently found but I am told that the tickets could not be transferred to the new venue and the local promoter now confirms the cancellation. I have Santiago hotels booked, flights booked and I am very angry that this has happened. My apologies to the fans who have bought tickets. I am faced with thousands of dollars of costs to make alternative plans to to return to the UK as well as the loss of Artist fee. This is no way for the venue management to treat the Artist or the ticket buyers. I hope you are able to get a full refund. Again my apologies for the unspeakable lack of professionalism on the part of the management of the Teatro Caupolican. Ian Anderson, Jethro Tull
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Post by Gerrald Bostock on Oct 7, 2015 18:19:26 GMT
OK...not quite the Box Set...but just a little display to get us prepared...LOL Lps from the USA,Argentina and Spain.....amd a few CD's and a centerfold...
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