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Post by Gerrald Bostock on Oct 7, 2015 14:25:38 GMT
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Post by Gerrald Bostock on Oct 6, 2015 15:48:13 GMT
A Press Release for the upcoming Ian Anderson shows
Jethro Tull By Ian Anderson Tours the United States November 1-11
(Shows in Chicago, Detroit, Boston, Connecticut, Brooklyn, Port Chester, New Jersey, Philadelphia) The British Press loves JETHRO TULL, Written and Performed by Ian Anderson. Now delighting audiences in South America, the production wrapped up its first leg in the UK two weeks ago. This multi-media night of music by the band Jethro Tull offers new life on both the songs and the inspiration of the original Jethro Tull, the famous 18th Century agriculturist and inventor of the seed drill. It’s “something remarkable to beheld,” writes Andy Snipper of London’s MUSIC NEWS. “It isn’t often that I go overboard about live performances but I have to say that if you don’t have a ticket for a show on this tour you need to be out there searching. It wasn’t about the performances – although they were excellent – or about the songs – once more great songs. It is about a concept brought through to completion that is in itself circular and thoroughly original but also immediately familiar to anyone familiar with the band.” It was only recently that Ian began researching the life of the man that his band took the name of 48 years ago on a weekly audition night at London’s famed UK club, The Marquee. The performance of Jethro Tull includes favorites “Aqualung,” “Living In The Past,” “Wind-Up,” “A New Day Yesterday,” and “Locomotive Breath” alongside of songs that could be about Jethro Tull including “Heavy Horses,” “Farm On The Freeway,” “Songs From The Wood” and “The Witch’s Promise.” Some of them are rewritten slightly to better tell the tale. The band features Greig Robinson (bass), John O’Hara (keyboards), Florian Opahle (guitar), Scott Hammond (drums) and virtual guests including Ryan O’Donnell who toured with Ian from 2012-2014/15. Bassist David Goodier, who has played with both Jethro Tull and with Ian since 2002, appears in Ian’s virtual world. Also on the big screen is Unnur Birna Björnsdóttir as the Agricutluralist’s wife. Writes Public Reviews Selwyn Knight, “She is expressive and has a beautifully clear and pure voice that cuts through the rumble of drums and guitars. She’s a mean violinist, too.” Knight also raves about Ian Anderson’s charisma, “to whom all eyes are drawn… a looming stage presence, stalking the stage like a caged animal casting notes from his flute far and wide, occasionally rising to stand on one leg in his signature silhouette. Even singing at the microphone, one feels there is great energy barely held in check as he is never quite still. A consummate showman with a unique voice and flute style.” Ian Anderson recently won The Prog God Award from Prog Magazine, celebrating the innovators of rock who have inspired generations and carved a way for others to be at their creative best. There is no one who has pushed the boundaries more than Ian Anderson, who to this day remains immersed in his love for the music Fronting seminal Prog outfit Jethro Tull and performing simply under his own name, Ian Anderson has performed in more than 54 countries over 45 years; he is widely considered an icon of the genre and is recognized as the protagonist of the flute in rock music. With over 60 million albums sold in its career, Tull has been characterized by Anderson’s trademark acoustic textures created with ethnic flutes and whistles together with acoustic guitar and the mandolin family of instruments. In many recent shows, Anderson has played with orchestras, string quartets and featured soloists. His eclectic acoustic performances are also a hit with fans of the progressive genre. Look for more dates in Russia and throughout Europe and South America before the end of the year. Below are the November U.S. shows. Below that are the full reviews. DATES: November 1: Chicago Theatre, Chicago, IL November 3: Fox Theatre, Detroit, MI November 5: CITI Performing Arts Center, Boston, MA November 6: Kings Theatre, Brooklyn, NY November 7: Academy of Music, Philadelphia, PA November 8: Foxwoods Resort Casino, Mashantucket, CT November 10: Capitol Theatre, Port Chester, NY November 11: New Jersey Performing Arts Center, Newark, NJ ##### Selwyn Knight’s write-up in THE PUBLIC REVIEWS of JETHRO TULL from Symphony Hall in Birmingham, UK. www.thepublicreviews.com/jethro-tull-the-rock-opera-symphony-hall-birmingham/Say the name ‘Jethro Tull’ to people and you are likely to elicit one of three responses depending on their age and interests – a blank look; if of a historical bent: ‘Oh, yes, the famous 18th Century agriculturist and inventor of the seed drill’; or, if someone of a certain age, ‘Oh yes, the famous progressive rock/folk fusion band led by Ian Anderson’. The central conceit of this evening is that Ian Anderson and other musicians tell the story of Jethro Tull (the man) using songs from the extensive repertoire of Jethro Tull (the band, now, according to Anderson, officially disbanded). Anderson tells how it was only relatively recently that he began looking into the life of the man and that he recognised that songs from his back catalogue could represent events and moods during Tull’s life. So the seed of the idea for Jethro Tull The Rock Opera germinated, was tended and grew. Tull was an agricultural pioneer. His design of the seed drill improved productivity and he continued to invent ways of improving yields throughout his life. Anderson has taken the outline of Tull’s life and replanted it in the near future; in this vision, Tull becomes a leading government scientist and wealthy businessman in the field of genetically modified crops before becoming disillusioned and returning to a more organic lifestyle. The song choices Anderson has made do indeed suit the story with little modification. And he has wisely ensured that some real crowd-pleasers are included – Heavy Horses, Aqualung, Songs from the Wood, Living in the Past, The Witch’s Promise and Locomotive Breath all feature. The story is largely told through video projection with characters from the story – Jethro Tull, his father, wife and son chief among them – appearing and singing with the onstage band. This is very effective and allows Anderson and the musicians to do what they do best – rock Symphony Hall to its foundations – while maintaining the narrative. On screen, Unnur Birna Björnsdóttir sings as Tull’s wife. She is expressive and has a beautifully clear and pure voice that cuts through the rumble of drums and guitars. She’s a mean violinist, too. Ryan O’Donnell, currently starring as Ray Davies in The Kinks’ musical, Sunny Afternoon, cuts a suitable figure as the young Tull trying to make a name and also the mildly disillusioned son. He sounds disconcertingly similar to the young Anderson as well. The whole is technically perfect with the onstage band and the video footage synchronising perfectly. A nice touch is the use of archive Jethro Tull footage showing a young Ian Anderson in full flow on the flute alongside today’s model live onstage. And it is Anderson to whom all eyes are drawn. He has great charisma and is a looming stage presence, stalking the stage like a caged animal casting notes from his flute far and wide, occasionally rising to stand on one leg in his signature silhouette. Even singing at the microphone, one feels there is great energy barely held in check as he is never quite still. A consummate showman with a unique voice and flute style. The other musicians are first rate: Scott Hammond’s drums provide an insistent, almost industrial driving force contrasting with the delicacy of some of Anderson’s flute work. Often understated keyboards from John O’Hara add to the tonal mix. However, the lead guitar of Florian Opahle really strikes the ear. Technically superb, he makes notes soar over the heads of the audience. All are equally at home rocking it and also with the pastoral more introspective pieces. As an evening celebrating the music of Jethro Tull, a greatest hits evening, the performance works. The use of some other singers is refreshing and gives familiar songs a new sound and life. However, the narrative of the story of Jethro Tull (the man) is less well developed – one really needs to read the synopsis in the programme to see the narrative arc. However, this aspect of the evening is perhaps the least important to fans of Jethro Tull (the band). Wearing T-shirts celebrating all eras in the band’s long life from 1967 to 2014, they, and this reviewer, are happy to hear iconic songs performed with gusto by the man who originally wrote them. And in this regard, one cannot fault the evening. From London’s MUSIC NEWS, this is Andy Snipper’s review. www.music-news.com/ShowNews.asp?nItemID=91255It isn’t often that I go overboard about live performances but I have to say that if you don’t have a ticket for a show on this tour you need to be out there searching. It wasn’t about the performances – although they were excellent – or about the songs – once more great songs. It is about a concept brought through to completion that is in itself circular and thoroughly original but also immediately familiar to anyone familiar with the band. To clarify: Ian Anderson named his band Jethro Tull after an 18th Century farmer and agriculturalist who invented a mechanical seed drill and mechanised hoe. Jethro Tull (the band) were extremely successful and Ian Anderson decided to make a rock opera of the life of the man who the band were named after, set in the modern day and using the songs of the band to illustrate his life. The performance at Shepherd’s Bush last night was superb and the use of filmed and digital backdrops with some of the performers on the album singing in the film and perfectly synched with the live performance happening on stage added immensely to the ‘show’. The band were Anderson’s touring band of Florian Opahle on guitar, John O’Hara on keyboards, Scott Hammond on drums and Grieg Robinson on bass but there were also excellent filmed performances by Ryan O’Donnel as the young Jethro, David Goodier as the older Tull and wonderful singing and violin from Unnur Birna Bjornsdóttir as Jethro’s wife and mother. All were excellent but Ian Anderson is such a perfect front man that when he was on stage all eyes were inevitably on him. Speaking of Ian Anderson, when the band started in 1967 he was whip-thin, lithe and as hairy as any of his contemporaries. He also had a great and very unique voice and occasionally played flute. In 2015 he is stockier, bald and has less of a voice than 50 years earlier. However, he is the same prancing and gesticulating actor/artist, can still balance on one leg while playing flute, plays more and better flute than in the past and is still utterly captivating onstage. The show itself featured a veritable ‘best of’ of Jethro Tull music including songs not heard for years – ‘Living In The Past’, ‘Witch’s Promise’ – tracks from ‘Aqualung’ and also the later albums such as ‘Heavy Horses’. These were not shoe-horned in to fit but, where necessary, the lyrics were tweaked to add relevance. It is NOT a bog standard concert, it really does have a readily understood theme and the show in toto is something remarkable to behold.
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Post by Gerrald Bostock on Oct 6, 2015 15:26:32 GMT
Pre Order AMAZON UK www.amazon.co.uk/gp/product/B0155YD1YC?keywords=jethro%20tull%20too%20old%20to%20rock%20%27n%27%20roll%20too%20young%20to%20die%20box%20set&qid=1444144516&ref_=sr_1_1&sr=8-1From Steven Wilson Facebook Page Steven Wilson Remixes Parlophone Records have announced the next in the series of expanded Jethro Tull 40th anniversary sets for release on 27th November, this time for 1976 album "Too Old To Rock’n’Roll: Too Young to Die". “The TV Special Edition" contains my remixes in stereo and 5.1 surround sound. As with the previous three releases in the series, it consists of 2 CDs and 2 DVDs. CD1 contains a 2015 remix of a version of the album re-recorded for a TV special, and remixes of the 5 album multitrack masters that could be located (alas 5 could not). CD2 consists of a complete flat transfer of the original stereo mix, and 8 bonus tracks, 7 of which are 2015 remixes. Among these are 2 previously unheard songs; Salamander’s Ragtime (completely unrelated to album track Salamander), and Commercial Traveller. A further previously announced out-take Advertising Man was ultimately found to be not sufficiently complete to merit inclusion. DVD1 features the TV special broadcast in full, making it’s commercial debut and with the remixed soundtrack in high res stereo and 5.1 surround sound. The 5 album track remixes are also included in 5.1 surround sound and high resolution stereo. DVD2 features the bonus tracks in high res audio, 4 also in 5.1 surround sound, and flat transfers of the original stereo and quadraphonic mixes. As with all of the Tull deluxe editions, this is a limited run, presented in a case-bound DVD book that includes an 80-page booklet with an extensive history of the album, track-by-track annotations by Ian Anderson, plus rare and unseen photographs. www.nika.si/Rock__Rock__Classic_Rock/Too_Old_to_Rock_N_Roll_Too_Young_To_Die/\Too Old to Rock ‘N’ Roll: Too Young To Die (2015) CD1 RE-RECORDED ALBUM FOR TV SPECIAL: MORGAN STUDIO, MARCH 1976 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) From A Dead Beat To An Old Greaser Bad Eyed And Loveless Big Dipper Too Old To Rock ‘n’ Roll: Too Young To Die! The Chequered Flag (Dead Or Alive) Quiz Kid (Version 1) (Monte Carlo Out-take) CD2 ASSOCIATED RECORDINGS Salamander’s Rag Time Commercial Traveller Salamander (Instrumental) A Small Cigar (Acoustic Version) Strip Cartoon One Brown Mouse (Early Version) A Small Cigar (Orchestrated Version) Too Old To Rock ‘n’ Roll: Too Young To Die! (Demo) 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) DVD1 AUDIO & VIDEO Too Old To Rock ‘n’ Roll: Too Young To Die! - TV film with DTS and Dolby Digital 5.1 surround sound and Dolby Digital Stereo Too Old To Rock ‘n’ Roll: Too Young To Die! - TV audio in 96/24 stereo PCM Five Original LP Tracks with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM. DVD2 ASSOCIATED RECORDINGS Salamander‘s Rag Time, Commercial (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM) Traveller, A Small Cigar (Acoustic Version) (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM) Strip Cartoon (with DTS and Dolby Digital 5.1 surround sound and 96/24 stereo PCM) Quiz Kid (version 1) (in 96/24 stereo PCM) One Brown Mouse (early version) Original Master Mix (in 96/24 stereo PCM) Salamander (Instrumental) (in 96/24 stereo PCM) Strip Cartoon Original Master Mix (in 96/24 stereo PCM) A Small Cigar (orchestrated version) (Original Rough Mix) (in 96/24 stereo PCM) Too Old To Rock ‘n’ Roll: Too Young To Die! Demo (in 96/24 stereo PCM) A flat transfer of the original 1976 Quad LP Production Master with DTS 4.0 and Dolby Digital AC3 4.0 surround sound. A flat transfer of the original 1976 LP master at 96/24 stereo PCM. To follow its stellar 1975 release Minstrel In the Gallery, Jethro Tull’s ambitious plans included a group album, in addition to a stage musical about an aging rock star. Midway through the process, however, the band decided to abandon the stage musical and use the musical songs as the basis for what would become its ninth studio album, Too Old To Rock ‘n’ Roll: Too Young To Die! Before the album’s 40th anniversary next spring, Parlophone will release a deluxe edition of TOO OLD TO ROCK ‘N’ ROLL: TOO YOUNG TO DIE! in the fall. This 2CD/2DVD set will be available on November 27. Highlights from the set include: An unreleased, alternate version of the album recorded for a British television special and remixed by Steven Wilson Bonus tracks (18 previously unreleased), all mixed to 5.1 surround and stereo by Steven Wilson Flat transfer of the original LP mix at 96/24 Commercial debut of footage from the television special Presented in a case-bound DVD book that includes an 80-page booklet with an extensive history of the album, track-by-track annotations by Ian Anderson, plus rare and unseen photographs Includes the gatefold cartoon from the original album drawn by renowned comic artist Dave Gibbons TOO OLD TO ROCK ‘N’ ROLL: TOO YOUNG TO DIE! was the band’s first with John Glascock on bass and backing vocals. But it wasn’t just the band dynamic that was changing, the music was evolving too, and this album helped bridge the progressive rock of Tull’s early years with the folk-rock that would shape its musical direction throughout the late Seventies. The first disc features an unreleased, alternate version of the album that the band recorded for a British television special. At the time, union rules forbid bands from lip-syncing the original album on television, which is why Jethro Tull found itself in a studio re-recording the album in March 1976. For this deluxe edition, Steven Wilson re-mixed that alternate version of the album, as well as five songs earmarked for the finished album, including “Big Dipper,” “From A Dead Beat To An Old Greaser” and the title track. It should be noted that the album couldn’t be totally remixed because multi-track recordings for several songs are missing. The second CD includes nine rare and unreleased bonus tracks like “Commercial Traveller,” “Salamander Ragtime” and an early version of “One Brown Mouse”, plus a flat transfer of the original album. The first DVD includes the commercial debut of the entire British television special along with several audio mixes of the show: DTS & Dolby Digital 5.1 surround sound, and Dolby Digital Stereo. The audio from the special is also included in 96/24 stereo PCM. The five tracks from the original LP are here as well, in DTS & Dolby Digital 5.1 surround sound and 96/24 stereo PCM. The second DVD includes some mixes of the associated recordings in DTS & Dolby Digital 5.1 surround sound and 96/24 stereo PCM. Also featured is a flat transfer of the original LP at 96/24 stereo PCM, in addition to a flat transfer of the original 1976 Quad LP Production Master with DTS 4.0 and Dolby Digital AC3 4.0 surround sound.
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Post by Gerrald Bostock on Oct 2, 2015 16:34:40 GMT
For those interested there are currently 3 shows out and available on various torrent sites. They are the September 10 London , September 11 Birmingham and the September 18 Moscow shows. The Moscow show for audio quality is decent probably a bit better then the other 2, but what do my old ears know. There are also many video popping up on you tube.
So far for me it does not work, maybe when I see it live in a few weeks my mind will change, but it will be a difficult challenge. IMO this just does not work, changing the lyrics to the songs is a very hard pill to swallow. Classic Tull songs are just that classic, not to have lyrics altered to try and fit this latest project. Ian is a great musician, he has blessed us with some of the finest music in our lifetimes and for future lifetimes to come. I just hope that this "tour" does not alter or change peoples opinion of Ian's legacy.
I am just hoping that my opinion changes when I do see this live.
and hell even if it does not work for me, I am sure that more folks will like than not, which is what it is all about. Everyone drinks their coffee a little different. I have seen Ian/Tull over 70 times (too many to actually remember at this point) and if this show does not work for me Ian still has a high approval rating with me. So that's not terrible but I will hold my final judgment until November 9thish.
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Post by Gerrald Bostock on Oct 1, 2015 20:36:29 GMT
there have been many great replies to this thread on our Facebook page, here are just a sampling :
Dave Rees: Ian's post was originally an email to me, in response to my review of the tour in the new A New Day mag which I emailed to him after going to press - so I guess I am one of the "silly, unobservant" people wink emoticon Happy to stand corrected, and I think my perception of 30% (and Old Webby's incidentally) was warped by the "duets". Yes, the guests really should be live on stage, but I still think it's a great show. Don't dismiss it out of hand until you've seen it, you might actually enjoy it..
Kevin Hoover :My issue is that the music is undistinguished. Impeccably crafted and performed, but absent any memorable themes.
The vocal issues wouldn't be a big deal if some great songs were part of it. To me it just sounds like a bunch of babbling and busywork.
: I agree with the comment that in order for this to work, the vocalists would have to be onstage. I thought that the Ian/Ryan live alternating vocals worked reasonably well the last two tours, but from the few clips I have seen, this seems too disjointed.
Ian McIntyre: Not bothered how much he sings. Just pleased that he has taken the sensibkle step of getting some help with singing the earlier stuff which his voice is no longer suited to. With the two Thicks he sang the whole of II which is written in a key that suits him now. Much better to hear stuff sung nicely than watch the poor feller struggle with what every other 70's vocalist struggles with and that is singing like you are 25
Dave Kovacs: I thought the Taab shows were a lot of fun. Taab2 was probably the best Tull album released in my life time (although I like both Crest of a Knave and Catfish Rising quite a bit). Florian's a fine guitarist who complements Ian very nicely. I look forward to the new show, and like the clips I have seen on youTube, especially of the recitatives; I expect I will roll my eyes at the lyric changes.
Tulltapes Tul:l Was their ever a doubt that Ian was actually singing? Where did he come up with the notion that he's been accused of lip syncing?
So just a sampling of folks comments on Ian's comments
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Post by Gerrald Bostock on Oct 1, 2015 20:28:20 GMT
this was posted by Ian on the Jethro Tull Facebook Page on the 29th:
Jethro Tull
September 29 at 6:34am
A brief message on the subject of the live show.
A few silly, unobservant people have concluded rashly that the new "Jethro Tull Rock Opera" show is either all prerecorded vocals or, at best, that I am singing only about 30% of the words.
This is utter tosh. The show was constructed from the beginning to allow about a third of the performance to be the domain of the pre-recorded video guests - whether singing solo in-character lines or duets with me.
I have done a count of all lines of lyrics, song by song, that I sing - both the total of the whole show and the actual songs minus the recitatives (the introductory short links between the actual songs).
The analysis is as follows:
With recits there are 589 lines of lyrics in the whole show and I sing in 395 of the lines in total or 67%.
Without recits there are exactly 500 lines and I sing 364 or 73% of the lines of the actual songs.
Average 70%. Just as I intended it to be from the initial concept. That’s a lot more lines of lyrics than I sing during in a 1 hour festival set, singing the whole concert myself and about the same amount I would sing in a 1 hr 30 min festival best-of show.
Remember that in Jethro Tull best-of shows there are usually at least two instrumentals plus songs with long instrumental passages, so I think it’s fair to point out that I am actually singing about the same amount as I usually do in the context of the big picture over the many years. This show, has many more sung songs and much less instrumental music anyway.
There are, of course, some of the Rock Opera songs where the lines sung by me are duets as opposed to solo but you get the drift. Perhaps audience members are watching the guests on the video screen (understandable since Ryan and Unnur are young and attractive) rather than me standing in front singing and playing live but that's what the guests are there for: to add to the entertainment value and sing in character as per the story.
Sorry to be pedantic but just for the record, it’s nice to paint the accurate picture for the fans. The lyric pages on our website could be a bit misleading as I tried to reflect the parts (color-coded) that the virtual guests sing whereas, in fact, many of those colour-coded parts are duets with me. However, I had to simplify to show what their contributions are.
Looking on the bright side, if it appears to some folk that my contributions as a vocalist are prerecorded, then I must be doing a half-way decent job of singing it live! Trust me - if you see me with my mouth open and bulging eyes - it's real!
Oh - and so is the flute.....
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Post by Gerrald Bostock on Oct 1, 2015 20:26:06 GMT
rawramp.me/2015/09/09/new-show-jethrotull-performed-by-ian-anderson-anvilarts-it-does-not-work-as-an-opera-but-its-still-fun/New Show JETHRO TULL — Performed by IAN ANDERSON — It Doesn’t Work as an Opera but it’s still Fun BY NEIL MACH © ON SEPTEMBER 9, 2015 • Oh no! We can almost hear you grumble as you slurp your macchiato this morning. Another jukebox musical… Yes, it is true — here’s another ‘National Treasure’ — this time a “Prog Rock God” — contorting some old songs to try and make them fit into a new show. It’s like squeezing square-shaped musical objects through round-shaped holes… The results are almost always going to be grotesque. But at least the good thing about this jukebox musical (because that’s what it is — more about its status as a ‘Rock Opera’ later) — is that it is a reasonable concept. Ian Anderson, the singer / flutist / guitarist and front-man of the Brit band Jethro Tull is as creative and accomplished as his historical predecessor — the English farming pioneer who brought about the agricultural revolution. And this stage-show is, more-or-less, about that historical figure also named Jethro Tull. Catweazle with big dirty coat and magic flute...Aqualung (Bonus Track Version) - Jethro Tull Catweazle with big dirty coat and magic flute…Aqualung (Bonus Track Version) – Jethro Tull The history of prog-rock Anderson can be traced back to the late 1960’s, when the rock band that he fronted played the London club circuit under a variety of aliases. In the end, though, they got re-booked under a name given to them by a booker — “Jethro Tull” — and the name stuck. Anderson, who, back in the Sixties, looked like Catweazle, was famous for wearing a big dirty coat, had verminous hair and played a magic flute. He soon became a well-known (if not a slightly eccentric) public figure. And from the album titled Aqualung onwards (1971) his band became a respected and successful presence on the British progressive rock scene. The ‘other’ Jethro Tull (as, once, every schoolchild could explain) was the 18th century gentleman farmer who invented agricultural machinery (such as the seed drill in 1701.) This, along with other innovations, launched the second great revolution in British agriculture. Yields increased significantly, and in turn, this allowed populations to grow. So, his work nurtured and re-fueled a thriving British workforce, leading to a dominant industrial position that we recognize today as the industrial revolution. Anderson’s new stage-show, comprising songs from the ‘Best of Jethro Tull‘ songbook, re-tells the story of this famous farmer — though he translates the tale through modern eyes and he even dares to look at the future of agriculture and the challenges still to be faced: (Feeding the world’s 9 billion souls, for example). The Very Best of Jethro Tull - Jethro Tull The Very Best of Jethro Tull – Jethro Tull We saw the show at the superb Anvil theatre in Basingstoke, UK. The show started with a huge ‘backcloth’ screen and, immediately, we were left in no doubt that this was to be an epic audio-visual experience. The musicians strode onto the stage. John O’Hara on keys, David Goodier on bass guitar, Florian Opahle on lead guitar and Scott Hammond on percussion. Last to arrive was the man himself. No longer a shabby panhandling beggarman… Anderson is now Heisenberg. Baron of the music industry and kingpin supreme. Anderson is now Heisenberg. Baron of the music industry and kingpin supreme... Anderson is now Heisenberg. Baron of the music industry and kingpin supreme… After the video introduction, we were taken straight into the excellent ‘Heavy Horses’ and a wistful look at rural life before Tull’s revolution . Here the Reykjavik-based violinist and singer Unnur Birna Björnsdóttir was introduced. She, along with other cast members: David Goodier (who looked far too much like British UKIP politician Nigel Farage for comfort) and Ryan O’Donnell (who played the ‘young’ Jethro Tull) with John O’Hara who later played the scientist — provided the supplementary vocals on the main songs. Of course, the main lines of the songs belonged to Anderson. Whose Sylvester sounding lisps and inclined vocalizations were perfectly pronounced with that strangely antagonistic attitude that we still admire. That said, Ian Anderson is no Jon Anderson. So, while the magical voice could hold your attention on recordings, it is less suitable for large auditoriums. Operatic it ain’t! And there was another problem too… We waited, like patient citizens, for the “magicians reveal”. You know, that moment when the curtain falls back… And the ‘true’ singers are exposed… Jethro Tull - the 18th century gentleman farmer who invented agricultural machinery... Jethro Tull – the 18th century gentleman farmer who invented agricultural machinery… But, unfortunately, there was no ‘Prestige’. The characters remained on the screen. Filmed onto a rather amateurish back-drop. The band merely played in front of this. This led to one member of the audience wondering out-loud if Anderson was “Actually playing the flute…” And, to be honest, we could not be positive that he was… Not the whole time, anyway. And that’s the problem when you combine live music with pre-recorded sounds. Of course, this was all cleverly managed. But, still, we would have preferred it all to be live. Another complaint was that this was not an opera. Although reported as such, it was actually a group of musicians playing songs in a conventional manner…In front of a back-cloth. The acting, set design and costumes, etc. that you might associate with an operatic production were all on film. So, to be strictly accurate, this was a performance of a work rather than the artwork itself. Anderson could have taken pointers from the excellent stage version of Jeff Wayne’s War of the Worlds — where the vocal performances of real-live guests are cleverly projected onto the green screen. We loved the song ‘Aqualung’ with Ryan O’Donnell. The farmer Tull became ill with a lung disease at a young age (if you were wondering at all how this song could possibly ‘fit’ into the story.) We could not help but think, though, that Florian on guitar was not a substitute for Martin Barre (but who could be?) Björnsdóttir - Beautiful harmonies... Björnsdóttir – Beautiful harmonies… The second half of the show was much stronger. The story focused on Tull’s seduction by some of the ideologies of low-impact farming and ‘Jack-in-the-Green’ was stalwart and enjoyable. ‘The Witch’s Promise’ was really excellent, as well as being nostalgic. With beautiful harmonies from Björnsdóttir. Like all Anderson’s compositions, the lyrics are somewhat puzzling. The songs have been rewritten (with new wording) to meet the requirements of the stage-show. This would be an album worth buying, if only to concentrate on that beautiful poetry. Anderson has not lost his touch. We thought that some of the messages were obscure, though. Should we grow more food? Or less? Should we embrace genetically modified foods? Or will that endanger our planet? We left the theatre with more questions than answers. At least the show made us reflect. And perhaps that is what the music of Ian Anderson is all about. Jethro Tull, the farmer-inventor, may have been a prime mover in the agricultural revolution. His innovations helped to feed the workers of the world. But let’s not forget that he was also a capitalist. His work influenced the culture of cotton in the South American colonies and, of course, the collection of cotton soon became the main occupation of the slaves. Hero or anti-hero? This stage show lets you decide. We left the theatre with more questions than answers... We left the theatre with more questions than answers… Most members of the audience were ‘Tull Fans’ before they even got into the auditorium. Anderson was preaching to the converted. And the crowd cheered without restraint. And we felt glad that they enjoyed the entertainment. But does this piece really stand up as a work of art in its own right? Probably not. Is it enteraining? Oh Yes, you’ll like it… Especially if you have bought into the last 40+ years of the band history (like we have.) But better brace yourselves … We can expect a new work to be released sometime soon… And this will be about the life of an insincere, bitter & twisted clerk called Uriah Heep. Brought live to the stage by Mick Box … Words: @neilmach 2015 © Jethro Tull, The Rock Opera performed by Ian Anderson is on at the London O2 Shepherd’s Bush Empire on 10th Sep 2015 More UK dates have been announced followed by Russian, European and South American dates before the end of the year.
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Post by Gerrald Bostock on Sept 9, 2015 12:02:33 GMT
Jethro Tull - The Rock Opera Basingstoke Anvil September 8th 2015
Set 1 Heavy Horses Wind Up Aqualung With You There to Help Me Back to the Family Farm on the Freeway Prosperous Pasture Fruits of Frankenfield Songs From the Wood Set 2 And The World Feeds Me Living in the Past Jack-in-the-Green The Witch's Promise Weathercock Stick, Twist, Bust Cheap Day Return A New Day Yesterday The Turnstile Gate Locomotive Breath Encore: Requiem and Fugue This from our facebook page from our member Steve "Stormwatch" Jeal..thanks Steve check out his pictures on our facebook page The Jethro Tull Group
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Post by Gerrald Bostock on Aug 4, 2015 12:31:55 GMT
David Allen the former creator and leader of the band Carmen. Is still making great music his new band Papa Tigre, who's new album Calavera Country is available from his web site or as a digital download from Amazon. A very lively and refrshing sound. So go check out some of the sound clips from his web site : www.davidclarkallen.net/ or at www.reverbnation.com/davidclarkallen .
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Post by Gerrald Bostock on Jul 29, 2015 13:49:29 GMT
First I want to personally thank Jakko for taking time out of his busy schedule to answer a few questions about the "Paris 75" show from the latest "Minstrel In The Gallery" reissue, Jethro Tull ,his own views on mixing 5.1, what he would like to see in 5.1 and his recent time King Crimson. I was lucky enough to have gotten in touch with Jakko a few weeks back, he so kindly gave up some of time to answer these questions.
Paris
How much freedom did you get in the remix? Was Ian very active in the process or did he leave it to you completely?
Well with regard to the Paris show, Ian had pretty much written the whole thing off. He was convinced that the tapes were in such a mess that we'd be unlikely to salvage sufficient listenable material to make it worthwhile.
So I offered to mix a track or 2 in an attempt to show what could be done. From that point on I shared my progress with Ian sending mixes for approval and comment. It was pretty smooth on that front as I think his expectations were low. Previously, when I mixed Ian's most recent solo album 'Homo Erraticus', he was very specific about changes, but happy to let me try stuff and take some liberties (Including some uncredited backing vocals that I did on 2 tracks).
What were you presented with tape wise for the Paris live stuff, multi track? 8, 24 track?
I was given digital transfers of what I assume were 24 track tapes. I say assume, because the track sheets are from another studio altogether, and rarely have more than 14 tracks used, so they could be 16 track's copied onto 24.
To your knowledge is there any other material at all on the Paris 75 live tapes that wasn't mixed onto the released version?
There's at least one reel missing, which I'm told was utilized for used for the mix of 'Criteque Oblique' on the 25th anniversary box, but it's been lost and separated from the other reels since then.
What do you if anything about the whereabouts of the missing film?
No one seems to know anything about the missing film. Tim Chacksfield who puts these things together for the label is very conscientious and will have explored every conceivable avenue to locating both the film and the missing tape reel!
Is the overall speed/tempo on the release of the live Paris as it was from the tapes or was it corrected in production. If so how did you determine what the proper tempo was?
I assume this question refers to the sections I utilised to replace the hole in the live recording left by the tape running out, and a new tape threaded on. I'd love to tell you that I achieved this by days of work time stretching the multi track to achieve a smooth unnoticeable series of edits between to two, but that would be a fib.
It's testament to the band and the solidity of Barriemore Barlow that I didn't have to do anything to the tapes. I tried a number of edits in and out till it worked. Obviously in the world of digital I'm not limited to a straight razor blade edit through tape and was able to do a 'tooth' shaped edit in the multi track to accommodate a note from either side of the edit point.
Being that the Paris live was to be "produced" for video disc, are there overdubs on the original tapes or the released material?
No
The only overdubs where on the film for the title track. Filmed and recorded live, then some bits overdubbed after. The rest is all live as one, including the string quartet.
Is there a full recording from the "next day" when they recorded without an audience?
No, that's not a complete set either, otherwise I'd have used it. There's some bits of songs, that are completely missing from the missing day 1 reel, but they're incomplete.
Personal views on mixing engineering playing and more.....
Musician, producer and mixing engineer? Which gives you greater satisfaction.
They all have their joys and stresses. Getting back to playing live has been a great thrill. I'm enjoying being in a band again, the fact that that band is King Crimson !!! Amazing
I get a great deal of satisfaction from producing, writing and recording too. Mixing albums from my youth is an extraordinary privilege. However sometimes there is weeks of work sorting through stuff and technical problems before you actually get to the mixing part, and I could do without that bit.
Revisiting much loved and classic albums must be a daunting task, how do you prepare and what processes do you adopt?
Well, I try to be true to the music and the era it was made in. I try to limit myself to the kinds of effects that were available back then. But I have the benefit of automation, whereas back then it was all hands on the faders and something of a performance creating a 'final' mix. So I can keep tweaking
the detail. On the whole I take the performances as they are. I have, though rarely, tuned the odd note. Not on a Tull album I hasten to add, but the odd wrong bass note or a string that's gone out of tune, I've tweaked back in. No one's noticed so far!
In the end it is my take on it, but based on the original. As most of these things end up in 'boxes' that contain the original mix, it strikes me as pointless to slavishly recreate that mix again. The 5.1 is different. There are no rules or comparison. I try to place the listener in the middle of the music and limit the amount of 'flying around' with the faders.
It's been interesting reading the forums. Which I know I probably shouldn't do. with regard to ELP, for instance. There's a couple of dedicated fans who state (as if it's fact, not an opinion) that I've used different takes in 5.1 mixes to those on the stereo. Which of course is nonsense, as largely I
begin by editing out the unused takes and over dubs (as per the original) and commence the stereo, then I make the 5.1 from that. I assume hearing things anew in their own space away from the crowded sonic stew of the stereo, the original parts and overdubs sound completely different. To the point where there convinced it's a different take.
What are the differences between your approach and Steven Wilson's?
Although I'm friends with Steve, we live quite near each other and do try to meet up when we can, I can't say I'm familiar with his mixing work or approach, so I'm not in a position to answer that question.
If you could what would be your choice of any album by any artist you could remix?
You mean the ones Steve Wilson hasn't already mixed, or is about to?!!
Well, stuff that's left that I'd love to do would have little commercial value as 5.1 mixes, so I doubt anyone would get to do them even for free! but top of that list would be 'Legend' by Henry Cow and 'Pawn Hearts' by Van Der Graff Generator. Some Joni Mitchell or Zappa, neither of which will happen. XTC's Sky Larking, 'As I say Steve has probably done half of these already!' The first Hatfield and the North Album Some Gentle Giant!! Tears For Fears 'Sowing The Seeds "There's a fair list once I start thinking about it.
Does your opinion of the music or the style of the music effect the work. Crimsons music is so sonically different than Tull.
Not really. It's all music and as I say a respect for the music, along with how and when it was created kind of sets up the approach. I'm both a fan and a musician so like to think that those things in form how I do them
What's the status on the next King Crimson album and do you expect further tours if the U.S.?
I'm quite near the end of an elaborate 2 1/2 hour version of all the tunes we played live in the US last year. Culled from separate performances from across the states. We've written some new pieces that we'll be playing on this years tour across the UK, Europe, Canada and beyond. There is a general plan in place for ongoing KC, but nothing in stone beyond this year as yet.
Jethro Tull LP's and future ....
How did you come to do this job, was it on recommendation from Steven Wilson? Or Ian's knowledge of your other jobs.?
Well Steve has very kindly recommended me for various jobs. One of which was Ian's last solo record. I enjoyed working with Ian very much on that and he appeared very happy with what I did. They subsequently asked me to mix the live DVD of TAAB, so the label asked if I'd be up for looking at the mess that was the Paris Live tapes!
Ian said he was happy for me to try, but had reservations about the viability due to what he'd heard of the tapes.
Would you and have you been approached to do any more of the Jethro Tull catalog?
There have been general discussions and availability checks. I think they embarked on this re-releasing project with Steve onboard, so I'm there on the subs bench when Steve's too busy or away on tour. I'm honoured to be asked to be honest.
What is your favorite Jethro Tull/ Ian Anderson LP, and why?
Well there's a thing.
It's hard to choose. The choices all get mixed up with the time I heard this stuff and its significance to me growing up. But Thick As A Brick, Benefit, Aqualung, Songs From The Wood are all up there. Can't choose
It's not!
and again my personal thanks to Jakko for
taking the time to answer a few questions.
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Post by Gerrald Bostock on Jun 5, 2015 16:44:11 GMT
The latest release from Japan is LSO Classic Case and with comes 3.5" CD single of Locomotive Breath
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Post by Gerrald Bostock on Jun 3, 2015 15:47:29 GMT
FROM THE VAULTS OF A NEW DAY Well the now semi famous "Jeffrey's Journal" was a to be a fan club letter from Jethro Tull, started by Chrysalis Records in November 1969. Dawn Ralston of behalf of the band and the record company sent out a form letter to all the inquiries that they were receiving. In it was stated that Jeffrey would be tasked with writing about the band's exploits and answering everyone's questions. Years later Jeffrey revealed he had never heard or remember doing this short lived "fan club" letter. On February 15 1970 the first and only edition of "Jeffrey's Journal" appeared. Jeffrey talked about being Ian"s best man, the film crew, an appearance on "Top Of The Pops", Ian's dynamite legs, recent rehearsals and recording of Benefi , the single "The Witch's Promise" and the TV appearance of the USA show "Switched On Symphony". The promise of another edition in 3 months time closed out the 3 paged brochure. Seven months passed before another word was heard, and it was not from Jeffrey it was from Dawn Ralston with caveat of free concert tickets or the return of their money. So Dave published the entire Jeffrey's Journal from the start to its finish. It appeared in issue 12, around the time Crest of A Knave was bursting on the scene. Dave has kindly given me permission to post these and future pieces from A New Day, The Jethro Tull magazine. There is such a huge treasure chest in AND, that even now going back to the early issue I find myself rereading all of the articles again and again.
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Post by Gerrald Bostock on May 26, 2015 17:09:35 GMT
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Post by Gerrald Bostock on May 20, 2015 13:23:14 GMT
SONIC VOYAGE FEST THIS WEEKEND (MEMORIAL DAY WEEKEND) IN WORCESTER MAY 23 (Traveling Progressive Rock Fest Debuts May 22-24 in New England) The Sonic Voyage Fest is coming to Worcester, this weekend, on May 23 at Ralphs Diner on May 23 at 8 pm. Ralphs Diner is at 148 Grove Street in Worcester, MA. Admission is $10. The venue phone is 508-753-9543 The website is www.ralphsrockdiner.com. The media is invited to come to Sonic Voyage, a new, traveling progressive rock festival featuring three incredible bands: Circuline, and Shadow Eden & Stratospheerius. All three bands have joined forces to create a night of music that dazzles with virtuosity, ignites the senses, and pushes boundaries. Other bands on the bill are Ben Levin Group and Joe Stump’s Black Knight Castle. THE BANDS WHO CREATED SONIC VOYAGE FEST Shadow Eden, Joe Deninzon & Stratospheerius, and Circuline Now Available for Interviews. Please contact Anne Leighton at 718-881-8183 Shadow Eden www.reverbnation.com/shadowedenShredguy recording artist Shadow Eden deliver well crafted, listenable songs which feature virtuoso performances designed to please the ear of musicians and music lovers alike. "Shadow Eden combine elements of progressive rock, fusion and guitar-driven metal into well structured, highly musical, and very listenable tunes.”-Shred Academy. Joe Deninzon & Stratospheerius www.stratospheerius.comLed by electric violinist/vocalist Joe Deninzon (www.joedeninzon.com), who has been called “The Jimi Hendrix of the violin,” Stratospheerius has showcased their “frenzied mélange of progressive rock, jazz fusion and funkabilly” throughout the world. The New York-based group has opened for The Levin Brothers (Tony and Pete), Tim Reynolds, Mickey Hart, and John Scofield… Their live performances are filled with funky dance grooves, rip-roaring guitar/violin jams, and hooks that mix jazz, funk, rock with Gypsy influences. Stratospheerius was a winner of the John Lennon International Songwriting Competition, and was named "Best Jam Band" in the Musician's Atlas Independent Music Awards. Circuline circulinemusic.com What do you get when you take two theatrical lead vocalists, a keyboard player from Juilliard, a musical savant playing guitar, and a drummer with progressive rock in his DNA? The new modern ProgRock band Circuline. Performing m elodic and cinematic rock for the 21st Century, their original music combines elements of classic progressive rock and modern rock. The "Tribute" part of their show covers British and North American progressive music that was played on the radio in the ’70s, ’80s and ’90s, such as Yes, Genesis, Rush, Led Zeppelin, Sound of Contact, and Pink Floyd.
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Post by Gerrald Bostock on May 13, 2015 11:27:18 GMT
Excellent Ian....
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Post by Gerrald Bostock on May 5, 2015 11:46:08 GMT
It had been a lot of fun. Thanked me for his ticket and all that I had done. Congrats guys - what a wild strange trip for us all. I say MORE! CHEERS! ...yes it has been a lot of fun.. "he called the band down to the stage and he looked at all the friends he 'd made"
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Post by Gerrald Bostock on May 4, 2015 19:18:54 GMT
MINSTREL IN THE GALLERY LP
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Post by Gerrald Bostock on May 4, 2015 17:03:29 GMT
Well another effort has been rewarded, also nice job to John Norman aka TooTull
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Post by Gerrald Bostock on May 2, 2015 1:10:15 GMT
This is the Minstrel Clip from the box set
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Post by Gerrald Bostock on Apr 23, 2015 12:56:25 GMT
This is the release history and highest chart positions in the United Kingdom and the United States from the time period of This Was to Stormwatch.. What is rather impressive is the that Tull had 3 number albums I in the UK (Stand Up) and 2 in the USA (TAAB and A Passion Play). What is more amazing ins the fact that Tull had a string of top a string of 2 number 1 a number 2 and a number 3 72 to 74. A pretty impressive string of charting.
This Was UK 10/25/68 10
USA 02/03/69 64
Stand Up UK 08/01/6 1
USA 09/29/69 20
Benefit UK 05/01/70 3
US 04/29/70 11
Aqualung UK 03/19/71 4
US 05/03/71 7
Thick As A Brick UK 03/10/72 5
USA 05/10/71 1
Living In The Past UK 06/23/72 8
USA 06/28/72 3
A Passion Play UK 07/06/73 13
USA 07/23/73 1
WarChild UK 10/24/1974 14
USA 10/14/74 2
Minstrel In The Gallery UK 09/05/75 20
USA 09/08/75 8
M.U. Best Of UK 01/09/76 44
USA 01/12/76 13
TOTRnRTYTD UK 04/23/76 25
USA 05/17/76 14
Songs From The Wood UK 02/11/77 13
USA 02/21/77 8
Repeat Best Of UK 09/09/77 USA 11/07/77 94
Heavy Horses UK 04/21/78 20
US 04/10/78 19
Bursting Out UK 09/22/78 17
US 09/29/78 21
Stormwatch UK 09/14/79 27
USA 09/14/79 22
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Post by Gerrald Bostock on Apr 21, 2015 19:00:08 GMT
RECORD STORE DAY APRIL 18 2015 LIVE AT CARNEGIE HALL 1970 Once again another Jethro Tull LP was issued in the United States. Although this had been released in 1993 as part of the 25th Anniversary Box Set, this is its first full appearence on vinyl. Two Songs were included in the 1972 release of Living In The Past Dharma For One and By The Kind Permission Of. Cover Inner gatefold inner gatefold Rear Cover Side 1 Side 2 Record 2 Side 1 Side 2
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Post by Gerrald Bostock on Apr 21, 2015 13:55:54 GMT
...well the 369th different release of Aqualung...LOL
SOB (not SLOB). I guess I 'll have to fork out another 30 bucks
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Post by Gerrald Bostock on Apr 16, 2015 13:07:19 GMT
USA DATES..........more to follow Nov 21, Arts Garage in Delray Beach FL. tickets available from www.artsgarage.orgDec 3, The Grey Eagle in Asheville, NC tickets available from www.thegreyeagle.com
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Post by Gerrald Bostock on Apr 15, 2015 11:21:45 GMT
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Post by Gerrald Bostock on Apr 15, 2015 11:19:44 GMT
John Glascock 7' Singles History 7" Single History The Juniors 1964 UK Columbia DB7339 There's A Pretty Girl / Pocket Size The Gods 1967 UK Polyodor 56168 Come On Down To My Boat / Garage Man 1969 UK Columbia DB8486 Baby's Rich / Somewhere In The Streets 1969 UK Columbia DB8544 Hey Bull Dog / Real Love Guaranteed 1969 UKColumbia DC8572 Maria / Long Time Sad Bad Time Toe Fat 1970 Argentina- Odeon Pops 8613 Just Like Me / Bad Side Of The Moon 1970 New Zealand-Parlaphone NZP 3361 Just Like Me / Bad Side Of The Moon 1970 United Kingdom-Paralaphone R5829 Working Nights / Bad Side Of The Moon 1970 United States- Rare Earth 5019 Just Like Me / Bad Side Of The Moon 1972 Belgium - EUREC 766 Brand New Band / Can't Live Without You 1972 United Kingdom Chapter 1 SCH R 175 Brand New Band / Can't Live Without You Chicken Shack 1972 UK Deram DM 352 Poor Boy / Daughter Of The Hillside 1972 UK Deram DM381 Promo As Time Goes Passing By / Poor Boy Carmen 1974 Japan -EMI - EMR-10638 Bulerias / Stepping Stone 1974 UK Regal Zenophone EMI - RZ 3090 Bulerias / Stepping Stone 1974 Japan-Odeon -EOR-10556 Flamenco Fever / Lonely House 1974 Spain-EMI 1 J 006-95.341 Flamenco Fever / Lonely House 1974 UK-Flamenco Fever / Lonely House Maddy Prior 1978 UK- Chrysalis CHR 2232 Baggy Pants / Woman In The Wings
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Post by Gerrald Bostock on Apr 14, 2015 13:14:59 GMT
MARTIN BARRE ORDER OF PLAY March 2015 EDIFYING RECORDS EDFLP002
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Post by Gerrald Bostock on Apr 13, 2015 12:19:30 GMT
prog.teamrock.com/news/2015-04-13/jethro-tull-launch-live-minstrel-streamPremiere: Hear BBC session from upcoming La Grande edition of 1975 album, featuring Steven Wilson mix Jethro Tull have streamed a live version of Minstrel In The Gallery, taken from the upcoming re-release of the band’s classic 1975 album of the same name. The La Grande Edition includes a remix by Steven Wilson plus a collection of additional tracks including unreleased alternative takes, live recordings and a full Paris concert performance mixed by Jakko Jakszyk. Minstrel In The Gallery won Tull their sixth gold disc. It was their last album to feature the early 70s lineup of Ian Anderson, Martin Barre, John Evan, Barriemore Barlow and Jeffrey Hammond-Hammond. The 2CD and 2DVD La Grande editions will be accompanied by standard CD, digital and vinyl versions. It’s available for pre-order via Amazon.
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Post by Gerrald Bostock on Apr 12, 2015 14:04:22 GMT
Sonic Voyage Fest on Memorial Day Weekend, May 22-24, in New England Sonic Voyage is a new, traveling progressive rock festival featuring three incredible bands: Circuline, and Shadow Eden and Joe Deninzon & Stratospheerius. All three bands have joined forces to create a night of music that dazzles with virtuosity, ignites the senses, and pushes boundaries. The premiere Sonic Voyage takes place in New England this Memorial Day Weekend with modern rock bands Circuline, Shadow Eden and Joe Deninzon & Stratospheerius performing on: Friday, May 22nd, 2015 - Hartford, Connecticut –Sully’s Pub at 8:00 pm www.sullyspub.comSaturday, May 23rd, 2015 – Worcester, Massachusetts –Ralph’s Rock Diner at 8 pm Other bands on the bill are Ben Levin Group and Joe Stump’s Black Knight Castle www.RalphsRockDiner.comSunday, May 24th, 2015 – Newmarket, New Hampshire –The Stone Church at 6 pm. –[opening band TBA] There will be master classes between 3 and 5 pm on Songwriting for the first hour and Improvisation for the 4 pm hour at the Stone Church event. We are currently doing this in New Hampshire on Sunday May 24 at the Stone Church. The Sonic Voyage Fest also looking for a local from the Newmarket, Dover, Exeter, NH area to be the opening act for the New Hampshire gig. Those interested in opening for the Newmarket gig should e-mail to Anne@AnneLeighton.com a short note, plus links to performance videos online. Include contact name, phone number, and website. Deadline is April 24. Note: Only e-mail is the way to contact us for the opener, who will be decided by the 1st of May). www.stonechurchrocks.comINFO ON SONIC VOYAGE'S SPONSORSHIPS FOR VETERANS AND STUDENTS The Sonic Voyage Fest is looking for sponsors to pay for the opener and for admission of interested veterans or students who might be going through financial hardships but would feel an event by musicians would help them. Please contact Anne Leighton, who works with Joe Deninzon, at 718-881-8183 if you can either help financially or know a veteran or student who’d benefit from going.
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Post by Gerrald Bostock on Apr 11, 2015 14:38:03 GMT
www.guitarworld.com/jethro-tull-premieres-previously-unreleased-minstrel-gallery-bbc-version-exclusiveJethro Tull Premiere Previously Unreleased "Minstrel in the Gallery" (BBC Version) — Exclusive To mark the occasion of the album's 40th anniversary, Parlophone will present several new versions of the album early next month. And to mark that occasion, GuitarWorld.com presents the exclusive premiere of "Minstrel in the Gallery" (BBC version), a previously unreleased recording. You can hear it below. Minstrel in the Gallery: 40th Anniversary La Grande Edition will be available as a limited-edition 2CD/2DVD set May 5. You can see the complete track listing below. Highlights include: • Original album and seven bonus tracks (six previously unreleased), two mixed to 5.1 surround, and all to stereo by Steven Wilson • Flat transfers of the original LP mix at 96/24 (plus "Summerday Sands") • Flat transfer of the original quad mix of the LP (plus "Summerday Sands") • An eight-minute film of the band performing "Minstrel in the Gallery" in Paris from July 1975 • Presented in a case-bound DVD book that includes an 80-page booklet featuring an extensive history of the album, track-by-track annotations by Jethro Tull's Ian Anderson, recollections by roadie Kenny Wylie, Maison Rouge maintenance engineer Pete Smith and string section member Liz Edwards, plus lyrics, tour itinerary and rare and unseen photographs. Also on May 5, a new stereo remix of Minstrel in the Gallery will be released on a single CD, digitally and on 180-gram vinyl as a limited-edition pressing. When it was originally released, Minstrel in the Gallery became the band's fifth consecutive U.S. Top 10 album, peaking at Number 7 and at Number 29 in the U.K. It also was the last to feature the longtime lineup of Anderson, Martin Barre, John Evans, Barrie Barlow and Jeffrey Hammond-Hammond. For this anniversary edition, the album has been expanded with the B-side "Summerday Sands," several studio outtakes, as well as alternate session material done for a BBC broadcast of the album's title track (you can hear it below), "Cold Wind to Valhalla" and "Aqualung." The second disc features a live recording of the band performing at the Olympia in Paris on July 5, 1975, a few months prior to the release of Minstrel in the Gallery. It was mixed to 5.1 and stereo by King Crimson guitarist Jakko Jakszyk. For more information about Minstrel in the Gallery: 40th Anniversary La Grande Edition, visit jethrotull.com. To pre-order the album now, visit amazon.com. Minstrel in the Gallery: 40th Anniversary La Grande Edition Track Listing: Disc 1: New Steven Wilson Stereo Remix 1. "Minstrel In The Gallery" 2. "Cold Wind To Valhalla" 3. "Black Satin Dancer" 4. "Requiem" 5. "One White Duck / 010 = Nothing At All" 6. "Baker St. Muse" a. "Pig-Me And The Whore" b. "Nice Little Tune" c. "Crash-Barrier Waltzer" d. "Mother England Reverie" 7. "Grace" 8. "Summerday Sands" 9. "Requiem" (Version 1)* 10. "One White Duck" (Take 5)* 11. "Grace" (Take 2)* 12. "Minstrel in the Gallery" (BBC version)* 13. "Cold Wind to Valhalla" (BBC version)* 14. "Aqualung" (BBC version)* Disc 2: Live At The Palais Des Sports, Paris, July 5, 1975 (Jakko Jakszyk Stereo Mix) 1. "Introduction (The Beach Part 11)" 2. "Wind Up" 3. "Critique Oblique" 4. "Wond'ring Aloud" 5. "My God" a. Flute Solo Including: "God Rest Ye Merry Gentlemen/Bouree/Quartet" b. "Living In The Past" c. "My God" (Reprise) 6. "Cross-Eyed Mary" 7. "Minstrel in the Gallery" 8. "Skating Away On The Thin Ice Of The New Day" 9. "Bungle In The Jungle" 10. "Aqualung" 11. Guitar Solo 12. "Back-Door Angels" 13. "Locomotive Breath" with improvisation and including "Hard Headed English General" and "Back-Door Angels" (Reprise) * Previously Unreleased Note: The DVDs will feature the DTS and DD 5.1 surround mixes as well as the 96/24 PCM stereo mix and an eight-minute film of the band recorded in Paris in July 1975.
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Post by Gerrald Bostock on Apr 9, 2015 12:38:05 GMT
These are the released concerts dates for the Ian Anderson Jethro Tull Rock Opera for the USA, most tickets are on sale or are going on very soon. The rumour has it it will be a very short tour, if more dates are announced I will post them
Ian Anderson Jethro Tull Rock Opera Tour Dates:
11/1 -- Chicago, IL @ Chicago Theatre
11/3 -- Detroit, MI @ Fox Theatre
11/5 -- Boston, MA @ CITI Performing Arts Center
11/6 -- Brooklyn, NY @ Kings Theatre
11/7 -- Philadelphia, PA @ Academy of Music
11/8 -- Mashantucket, CT @ Foxwoods Resort Casino
11/10 -- Port Chester, NY @ Capitol Theatre
11/11 -- Newark, NJ @ New Jersey Performing Arts Center
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