While we can't talk details about any possible bonus material for the "Songs From The Wood Anniversary Edition" we did stumble upon something else pretty interesting. This coming Feb 8th will be 40 years since Channel 9 WOR in New York aired the documentary "Minstrels in the Gallery" featuring some nice segments of Tull live, recorded throughout New York on the "Songs From The Wood" tour. A badly washed out copy has been traded by fans for decades and the quality leaves much to be desired. I had long searched and inquired to various people on the whereabouts of the raw films assuming a full show may have been sitting around somewhere?
Several months ago I a got a break. A former WOR producer contacted me and was kindly able to fill me in on some details of the filming. They shot at 3 separate concerts using 3/4" tape (dubbed down to 2") but were only able to shoot one entire concert which they used as the master shot. This was from THE BROOME COUNTY VETERANS MEMORIAL ARENA in BINGHAMTON, NY on Dec 3, 1977.(a show my family and many friends were at). Being able to only shoot one full concert and wanting to use different angles, they picked certain songs and shot one at each venue. All the cutaways were from The Nassau Coliseum,and Madison Square Garden shows. Of course Tull's choreography was so exact that you couldn't tell in the edited version that it all wasn't shot in the same place at the same time.
Q: So where's the raw tapes? Including the entire Binghampton show, full songs from Madison Square Garden, and Nassau Coliseum shows, soundchecks, interviews, parking lot footage etc?
A: Channel 9 went through 3 or 4 owners and a move from Midtown Manhattan to Secaucus, New Jersey and all the 2" videotape ended up in a dumpster. :o :-[ >:(
Q: How about A soundboard or multitrack audio recording?
A: They were originally going to let us plug into their board but then someone decided that they didn't want us to bootleg an album so we had to set up a few mics in front of speakers.
He did manage to salvage and pass along to us his own 40yr old VHS master copy of the 30min show. He believes this is "all that exists" and has entrusted it to us at the Jethro Tull group for possible usage. We will hopefully be able to make this available to the Tull fans here soon. We are working on it. The bootleggers make it very difficult. In the meantime something else might come along before too long?
Hey David and thanks Hope all is well. It does appear that technology has advanced us once again. There is more Tull chat on FB than ever before, We move towards convenience it seems, but we'd like to think that we can get something going here again sometime.
That is great Robert. Would love to see what you got. We are always looking for 70's Tull photography and especially stuff from 1971. Feel free to share anything here or message me. You can also email me at email@example.com. Glad you found us!
Yes..I believe there was a stamp on the back with your name. The prints I bought had some damage and looked pretty aged. Nice photos though. If you have more we would love to see them or if you have alot more we are always interested in purchasing. I could of swore it was from 72 but hey, you took them so you should know better. Thanks
Thanks FTB. I would recommend seeing him if you get the chance again. There's bound to be something you like. And for around $20 a show you really couldn't go wrong. I also love Martin's acoustic playing more than most anyone's. There's some nice acoustic work sprinkled around on BTS for sure, even a song like "You and I" has very nice acoustic guitar harmonies. As for an acoustic tour? Here's what Martin said when we asked him recently.
TJTG - You mentioned, that with ‘Away with Words’ you did one acoustic gig. Would you ever consider doing more acoustic shows?
MB - Yeah, well, it’s in my little black book and we tried one and it was so successful. We just did one little gig down in Cornwall, but it was packed out. And the people, everybody really, really enjoyed it. It was percussion and three acoustic guitars. And yes, I would like to do it.
Your opinion is fine. You’re entitled to your opinion here and it’s perfectly ok to disagree as long as nobody jumps on eachother about it (as far as i'm concerned). It’s not an album I would expect someone who isn’t a huge heavy guitar fan to be interested in. I like to listen to how he arranges things and uses harmonies etc. I don’t put it up there with the Tull classics of course but I found it an interesting listen. I am a heavy/distorted guitar fan, and huge Barre fan and while at first I liked the album a lot I was not “bowled over” by it. (I really love “Away with Words”) I thought the Tull re-arrangements were so cool and different that he could just have worked those into his own songs. Or why would he have to rely on tull songs for his album? He does some really clever things musically that have nothing to do with the original Tull song. BUT.. After seeing this band live it absolutely put everything in a whole new perspective. This is a LIVE band and should be seen live! Dan Crisp is great. I didn’t expect to like him as much as I did but, he was awesome. I also wasn’t a fan of Ryan O’Donnell until I saw him live but he almost speaks the words softly. He’s a great talented guy but not my cup of tea for Tull songs really. Dan Crisp is a powerful, passionate singer and a great guitar player and integral part of a tight band that plays on all cylinders together. Very impressive. I find myself putting on the CD alot now and the songs and melodies have grown on me, getting stuck in my head because of the impression the show made on me. Dave I think even you would have enjoyed the show. They brought a great, fun, atmosphere and they played so well together. It was exciting. Martin has a renewed energy that I haven’t seen in many, many, years. The CD now reminds of that! I also totally get why he is recording the Tull material as he has to play Tull live but doesn’t want to do it like a cover band and still have his fans recognize them. That’s respectable. I am starting to love some of his arrangements better than the originals. They sound SO fresh, and I LOVE how they do Sweet Dream (that riff has been stuck in my head). So.again we differ in opinion. But, I get it.. it’s all good.
Just wanted to stick in my brief review of the Martin shows I was lucky to have attended this week. Such a rare opportunity to see Martin and just an amazing tight band in both Cleveland. and Rochester. The Martin Barre Band are on absolute fire! I have not seen a tighter band in a very long time. The YouTube clips you see are not the same as seeing it live. The energy they brought was undeniable to everyone! I am still buzzing from it. Martin is charged up like I haven't seen before and playing his most fluid guitar ever. He has also become an entertaining/hilarious front man. 2 nights in a row with that much energy really left an impression. Very enthusiastic crowds from wall to wall. Different setlists, different banter from Martin! It was great to run into and chat with all the Jethro Tull Group members this week including Don Bauer, Bob Barber , and Dave Reynolds. I attended the Rochester show with bandmate Greg Fox from "Shuffling Madness" and couldn't get there until close to showtime, so luckily Dave (from Toronto) saved seats right up front for us. The setlists were varied and I loved everything he played. There was a handful of Tull songs played but... They are arranged different and it really brings new life to them. And it was my first Tull related show with NO AQUALUNG!! The guitar harmonies by Martin, and Dan Crisp are brilliant! It adds another dimension to the music but this was the kind of show where the setlist didn't matter as the band is so tight and having so much fun that it was just a joy to watch and experience all of it. I was able to give Martin some of the Steven Wilson Remixes as we heard he did not receive them. I think Charlie will be delivering him with more this week. He was so thrilled to finally get them and to get something he didn't have to sign lol. Martin and the band were very appreciative of the fans, very friendly, and very sincere. I am very happy that he was able to pull this off on his own and it should allow him to continue to take this band to new heights and come back for even bigger shows next time. Oh.. I couldn't even imagine Martin playing with Ian right now. It would be weird to see Martin as a sideman! I did alot of photography in Cleveland and will post more photos at some point.
I was recently lucky enough to get a quick interview with Ian prior to the U.S. leg of the 'Rock Opera' tour, focusing mainly on his solo works with a hint of what may come in 2016 and 2017.
ON THE QUESTION OF SOLO ALBUMS.
The Jethro Tull Group - The first I suppose was ‘A’, touted originally as a solo album, but eventually released as a Tull album, how was the transition to a new band at that time and was it a disappointment to see it eventually released as a Tull album rather than a solo effort?
Ian Anderson - An unfortunate early excursion into solo albums as the members of the band prior to the recording were understandably upset when I gave in to record company pressure and allowed it to be released as a band album. Mea Culpa.
TJTG - In retrospect, do you wish you had dropped the Tull name at that point?
IA - Well – for that album really, yes, although it had three current members of Jethro Tull on it. Martin, Dave Pegg and I. So it was 60% a Tull album anyway.
TJTG - Did you feel ‘A’ took you on a significantly different musical path away from Tull to warrant it being a solo album?
IA - The inclusion of Eddie Jobson meant it would be different whatever the outcome as a result of his musicality and array of keyboard sounds, plus, of course, his violin. Mark Craney too, was a powerhouse of skill and dexterity. You had to work to keep up with these guys; Scary for the staid and folky Dave Pegg obviously, but for Martin and me too.
TJTG - The first official Ian Anderson solo album was ‘Walk into Light’, in my book a vastly under-rated classic, how do you feel about it now?
IA - Really interesting songs – again with the double act of Peter Vettese in regard to arrangements and performing in the studio. This was a period of real emancipation of the electronic keyboard with the advent of digital technology, sampling, sequencing and access to a vast library of sounds. Useful experimentation in its time but, ultimately, not as satisfying as the good old piano or Hammond Organ.
TJTG - It was a particularly different feel being an electronic album, a darker more introspective album to my mind than you had penned for many years, did you find you varied your normal approach to song-writing for this album?
IA - Not consciously. It came from the mood of the time, getting away from the folky, light, whimsical style of ‘Songs from the Wood’, ‘Heavy Horses’, etc. Electronica was a necessary experiment for me to pursue to see what it could do for me as a writer by way of inspiration. Not a huge amount, as it turned out...
TJTG - You worked quite closely with Peter John Vettesse on it, was that difficult to accommodate from your previously normal work and song writing ethic?
IA - No, I am easy to work with when it involves great musicians who challenge my abilities and awareness.
TJTG - Many of those fans who enjoy the album, and it's Tull successor ‘Under Wraps’, were happy with the move towards a different sound but the decision to use the Linn drum machine has been criticised with many saying they would love to hear those tracks again with "real" drums, was the electronic drum sound something you were totally comfortable with at the time? Are there any tracks you might revisit to incorporate a real drum sound?
IA - The Linn Drum actually was programmed with my own Ludwig drum kit, sampled from the audio of me hitting the damn things! Of course, I would love to have ‘Walk Into Light’ and then ‘Under Wraps’ re-recorded with real drums. Especially ‘Under Wraps’ which has some great songs and great playing from Martin especially. Probably my most ambitious vocals too, except they wrecked my voice after a couple of tours of live singing every night.
TJTG - The next solo album was a long time in coming, was that due to a growing workload with Tull and less available time with your move towards other interests like the fish farms, or was it a general lack of interest in producing solo work?
IA - With new guys in the band, it was fun to explore their potential contributions over the next few years. I didn't feel the need to do more solo work as by then I was working in my own studio at home, producing and engineering as well as writing and performing. About as solo as any man would want. So much of the work of the band was done as overdubs. Not the way we did it before in the 60's and 70's or in these days now where it is all played live in the studio, as much as possible like a stage performance.
TJTG – ‘Divinities’ was a major departure from the previous outings, and one that I think was universally and warmly welcomed amongst fans, how did it come about?
IA - EMI's Classical division approached me with a view to making an album for them as a “Cross-over” Classical piece. It actually ousted my pal Sir James Galway from the number one slot in the Billboard Classical Crossover charts. Which probably means it sold more than 100 copies or whatever. But a number one is a number one. Especially if you are Sir Cliff, when these things count.
TJTG – Again, ‘Divinities’ was a piece that seemed to be developed in close co-operation with then Tull keyboard player Andy Giddings. Do you find collaborative working on your solo projects easier with a keyboard player?
IA - It is always easier to work with one other person in the creative confines of the studio rather than a group or band all having their say and voicing opinion. Next project for me is working with current keyboardist John O'Hara on a string quartet album of Tull Classics early next year.
TJTG - Was it easy working so closely with Andy Giddings on ‘Divinities’, and how would you compare your previous working relationships with collaborators, Eddie Jobson, Peter Vettese, Andy Giddings and John O'Hara, they all appear to have different strengths which you have brought to the fore in your solo releases.
IA - Not as quick, sometimes, as Andy liked to fiddle with various sounds to get the best result. Peter Vettese and Eddie Jobson were quicker to work with perhaps. But all were able to bring more variety to the table in terms of sounds and detail.
TJTG - Onto ‘The Secret Language of Birds’, a piece of work based I think on much more individual observational musings than previous themed solo pieces, yet it stands up collectively as a very strong solo outing, was it a deliberate departure from the previous forms?
IA - I tried to keep it fundamentally acoustic in texture. Mostly me with a variety of strung guitar and mandolin family instruments. A couple of drummers involved – known for their light and sensitive touch.
TJTG - It appeared similar with ‘Rupi's Dance’, would you consider both these albums to be more fully Ian Anderson solo pieces of work, with less collaboration with any particular keyboard players involvement?
IA - Yes – they are a pair really. Both very much with the same approach, writing environment and studio although Rupi's Dance was all digital multitrack recording for the first time.
TJTG - In listening to those solo albums now there is the strange feeling that any or none of the songs could possibly, and in some cases obviously, fit somewhere in the Tull canon of work, but in 2011 you took the bold step some would say of distinctly sharpening the slightly blurred line between Jethro Tull and your own solo work, by announcing the hiatus and eventual break away from Tull to concentrate distinctly Ian Anderson's solo work. What prompted the move to redefine the edges between the two?
IA - Well – the so-called solo albums are no different from the several pieces of recording from Aqualung onwards where many tracks were recorded by me alone in the studio and then supplemented by judicious additions by some other band members.
That approach actually began with A Christmas Song in 1968. The lines are as blurred today as always. That's why I use both my own name and the Tull brand in the marketing and promotion of concerts where the Tull repertoire is being played. It's easier if you start off with Frank Zappa And The Mothers Of Invention, or Captain Beefheart And His Magic Band! Bill Haley And His Comets, Elvis Costello and The Attractions, Adam And The Ants etc. etc.
Remember, there was a brief moment when, prior to the name change to Jethro Tull in early February 1968, when we were known as Ian Henderson's (actual typo) Bag Of Blues....
TJTG - The last two albums have been well received by your fans and the growing new wave of Prog Rock fans, and both link to the former Tull piece “Thick as a Brick”, did you deliberately set out to cater for the older generation Prog fan? Do you have a preference for that style of playing or genre?
IA - “Progressive Rock” is the description applied to Jethro Tull back in 1969, long before it was recognised as a catch-all genre. “Prog” is something different in my mind. I have no problem with the former, then and now. Last couple of records are broadly in a more progressive genre and, of course, “concept albums” to boot. I like the idea of drawing songs together with some connective tissue where possible. A good album is like a fine lady's leg: Elegant, shapely and joined together convincingly at hip, knee and ankle.
TJTG - You often cite a few influences from your early years of playing, such as Sonny Terry and Brownie McGhee, do you ever see yourself revisiting those influences and reverting to playing blues based pieces again?
IA - No. I love the Blues too much to sully it with my own feeble efforts.
TJTG - Back in the seventies you frequently topped the multi-instrumentalist polls in the music press, do you see yourself as a multi-instrumentalist these days, Are there any other musical instruments you might consider using in the future?
IA - Multi-instrumentalist only in the sense of playing a different instrument – the flute – rather than necessarily being a master of more than one. I seem to remember Keith Emerson figuring strongly there too. Piano AND organ. Wow! I think they were just desperate to point out that you didn't have to be a guitarist to win polls.
TJTG - Many fans have expressed their desire for a truly solo Ian Anderson album, just you with a truly acoustic set up, guitar, keyboards (piano) and flute, is it something you might ever consider?
IA - Yes. I have a project in mind for commencement 09.00 Jan 1st 2017. Until then, I don't want to think about it much. I much prefer the blank canvas of opportunity and whim.
TJTG - You announced that you would start work on your new solo album at 9.00 am on January 1st 2015. Given the work on TaaB2 and Homo Erraticus you can clearly write to a deadline, are you always that precise and ordered in the way you work?
IA - No – it's just a good time to start a project knowing that everyone else is either hung over or still in bed. No intrusions, interruptions or invasions. I actually started on the so-called Rock Opera project at 09.00 2nd January 2015 as I spent the 31st December in hospital for some minor surgery and didn't get home until late the next day, feeling a bit poorly and disinclined to work. What a slouch!
TJTG - You've had a resurgence in writing over recent years, but there was a long gap in releasing new material after ‘Dot.Com’, what was the reason for that?
IA - I was always writing stuff but apart from making a few demos didn't feel the urge to work with the then band line-up in the studio. Doane was in LA, Martin down in Devon and it wasn't convenient to just get together on a moment's notice. I think the studio environment had become a bit stale for Martin and me and neither of us were enjoying it much.
TJTG - I think over the last few years your standing as a solo artist has strengthened amongst most fans as well as outside the core Tull fan base, many years ago you said the thing about Tull and yourself was that the band or you could not be pigeonholed musically or in terms of fashion, how do you feel about the label Prog and more so your Prog God award?
IA - Prog is a bit of a laugh. A slightly derogatory term with some self-mocking good humour when we insiders use it. I rather doubt that young Steven Wilson likes being thought of as a “proggie” if he hears someone else say it. The incessant noodling of Yes or the instrumental posturing of ELP were sometimes a distraction to their great song-writing and huge achievements. But I guess I have done both myself! It's hard to stop when you are having fun.
TJTG - I presume you won't want to divulge too much about where your current direction is heading after the 'Jethro Tull' Opera at this stage but are there any new influences or interests that might be guiding you at this time?
IA - I just did, earlier, but I have a hankering for a couple more meaty projects before the game is finally up. I have never written many love songs so that might be a way to go. But probably the dark side of love. Somewhere between a Shakespeare love sonnet and a Macbeth murder. With an erect and thrusting flute to the fore.
Oooooh! I feel the excitement building already.
Where's that codpiece?
TJTG - My thanks to Ian and James for taking time out during a hectic build up to the start of the American Leg of the ‘Rock Opera’ tour which starts on November 1st in Chicago and continues through to 11th in Newark New Jersey. The tour then continues in Spain, Italy and Turkey
My name is Gianni, I live in Belluno, a small city in the north east of Italy that lies in the foothills of the Dolomites. I'm 26 years old, I got married about a year ago but I'm not be able to teach to my wife what good rock music is... she prefers commercial pop music. But I'll try again and again!
When we go for a ride by my car she has to listen what I like, no compromise: JT, Van Der Graaf Generator, Zappa, Beefheart, Area, a lot of prog rock of all time.
I'm very glad to be here in this forum, I love Tull! I'll hope to learn a lot of new thing about them and I'll hope to improve my terrible English! Sorry about that, guys!
Have a nice day with Tull and all the good music on the planet!
33 minute film shot by Davy Hall from the third of 5 nights at Hammersmith London at the end of the "Stormwatch" tour. This is 2 gigs before the last show ever with the classic Tull lineup! Major audio upgrade here! A real treat!
Couple of interesting releases - especially the first one - via the following extract and link:
"Jethro Tull – Live at Carnegie Hall (U.S. and U.K., 2LPs); Jethro Tull’s Ian Anderson – Thick as a Brick: Live in Iceland (U.S. only, 3LPs)" as taken from ultimateclassicrock.com/record-store-day-2015/ No info yet on Burning Shed. Keep an eye on any release and sourcing information people!
Thanks for the info.. Here is more on the Carnegie Hall vinyl.
Jethro Tull Live at Carnegie Hall
Format: 2 x 12" Vinyl
Release type: RSD Exclusive Release
Previously only available on CD and digitally as part of the now-deleted 2010 special edition of the album Stand Up, recorded 11/4/1970, this is its debut on vinyl. From the now deleted 2010 special edition of the album "Stand Up" recorded 11/4/1970. Newly commissioned artwork, gatefold jacket. Limited edition RSD exclusive 2LP 180 grm black vinyl.
TRACKLIST: 1. Nothing Is Easy, 2. My God, 3. With You There To Help Me/By Kind Permission Of, 4. A Song For Jeffrey, 5. To Cry You A Song, 6. Sossity, You're A Woman/Reasons For Waiting/Sossity, You're A Woman, 7. Dharma For One, 8. We Used To Know, 9. Guitar Solo, 10. For A Thousand Mothers
There is a raw mix of the entire TAAB album performed nearly all LIVE without the flute or guitar overdubs which Steven Wilson sent to Ian. It demonstrated to Ian's suprise, just how much of the album was recorded live. SW wanted this included with the 40th anniversary package but Ian declined the idea. That would have been an interesting bonus track.
I have a good friend who is also a music journalist who played the entire album for me last night. It sounds like SW was going for the most epic sounding progressive rock album ever! So many nods to Rush, Genesis and others but on major Steroids. Lots of changes from very heavy, to mellow, to dreamy, to ambient, to straight up pop and back again. Alot of the chord progressions he uses are very familiar and proven effective, especially with the bass pedals underneath... but the musicians take them over the top. There is one track in particular that left me just saying "Oh My God"
The remastered anniversary Stand Up was released on CD/DVD in 2010 just before Steven Wilson came into the Tull picture and enlightened Ian, and EMI onto such things as Vinyl reissues. Maybe by 2019 we can have an actual remix and vinyl??
THIS WAS 40TH ANNIVERSARY EDITION was released in 2008. Along with the mono mix there was a new stereo mix. And with this new stereo mix THIS WAS was released on new vinyl edition in 2014.
So, probably, the reason of the STAND UP gap with these new vinyl 180gr releases is the absence of a new stereo mix of the album.
They must have thought the 2008 Peter Mew mix of "This Was" sufficient enough for a Vinyl release. I would think with Stand Up they could want to give it a 5.1 treatment? I don't think 5.1 of "This Was" is too necessary?? I'm sure they wished they hooked up with SW a little sooner. Not sure what they will do with Stand Up as far as vinyl but maybe we can find out. Now however it's time to enjoy the Warchild 40th on Vinyl out Next week.
With the growing interest and demand in vinyl resiisues, particualrly in collector's edtion form' on heavyweight vinyl you would think that Stand up would be given the treatment. it seems to have slipped by in the catalogue. We will try to find out for you if there is any chance of it sneaking out sometime in the future.
STAND UP is the only one, among the historical JT albums, without the new 180gr vinyl edition!
I am confident that it will be released ...
The remastered anniversary Stand Up was released on CD/DVD in 2010 just before Steven Wilson came into the Tull picture and enlightened Ian, and EMI onto such things as Vinyl reissues. Maybe by 2019 we can have an actual remix and vinyl??
Hi Sonet To my knowledge there are 3 Norwegian red Sonet singles they are:
T-9557 1969 Bouree/Back To The Family (Picture Sleeve) T-7792 1970 Witch's Promise/Teacher T- 7863 1971Life Is A Long Song,Up The Pool/Dr.Bogenbroom,From Later,Nursie (Picture Sleeve)
Sweden also released 2 singles on the Sonet label
T-7792 1970 Witch's Promise/Teacher (Picture sleeve) T-7792 1970 Witch's Promise/Teacher (Picture sleeve) Blue Vinyl T-7863 1971 Life Is A Long Song,Up The Pool/Dr.Bogenbroom,From Later,Nursie (Picture Sleeve)
The Norwegian singles are much rarer than the Swedish singles. I have 2 of the 3 Norwegian singles and are missing the Witch's Promise/Teacher. Last I price I saw for a Norwegian Bouree Back to the Family was on EBAY not to long ago and it was starting at 400 dollars, the condition was good to very good. I have never seen the other two singles for sale anywhere, but I did acquire my copy of Life Is A Long Song and Bouree from a Tull trader many years ago. Not sure I would be willing to part with them, PM me with an offer I can't refuse, and maybe I will consider selling them. But will gladly keep an eye out for them
The Swedish singles are not difficult to acquire they are regularly seen for sale in various markets., The regularly go for 25 dollars and up to 50 dollars on a good deal . The blue vinyl Sonet is regularly sold for under 50 dollars the black vinyl one can sell for 30 to 50 dollars. Although I did see it going for 25 dollars not long ago. The Life is A Long Song EP also will show up on different sites for under 30 dollars.
Thanks for swinging by Sonet, let me know if you need any more information, I will gladly share it with you. Charlie
Great detailed response. This is why you are the expert Gerrald.
I am considering unloading all my vinyl, en masse if possible. Part of the ongoing lightening of the load if you will. Not whining but life could have been kinder. Any suggestions?
Vinyl can be shipped around the country for less then $20 per box of 50 LP's per USPS Media Mail. Interest or potential selling over the internet would require pictures, titles, and description of condition. Records that are scuffed up are not usually sought by collectors but can still be sold usually at a bulk rate.
Quizz Kid: Well, we tried to spread the love and the word, build bridges, but when you get booted and blocked by twats for no reason it's a bit like the trash taking itself out for collection, good riddance to bad rubbish.
Jul 12, 2017 23:36:42 GMT
Gerrald Bostock: 'well ....to "their" own pressing problems and the hate they must unwind.....Leaves me with "Nothing to Say"
Jul 14, 2017 11:55:58 GMT