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Post by maddogfagin on Jan 3, 2013 18:59:39 GMT
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Post by maddogfagin on Jan 4, 2013 18:43:23 GMT
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Post by maddogfagin on Jan 6, 2013 13:23:09 GMT
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Post by maddogfagin on Jan 8, 2013 8:32:27 GMT
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Post by maddogfagin on Jan 9, 2013 19:05:16 GMT
Mark Craney & Friends
Something With A Pulse
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Post by jackinthegreen on Jan 9, 2013 22:23:36 GMT
Great thread......I bought the Heart of the Land on seeing this here. I got it today, some really nice music on it. I have the Peter Green 2cd already, it's a good album I agree, I love Paul Jones beautiful version of Albatross. I believe that the Rory Gallagher tracks here were the last recordings he did, so very special...... I'm sure I have that Summer of Love 60's thing somewhere........ I think I will try and get the last one, the Mark Craney and Friends, looks interesting. Cheers.........
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Post by steelmonkey on Jan 9, 2013 22:47:11 GMT
Interesting that both Craney and Giddings worked with Eruc Burdon...at different times...surely not the first guy you think of in terms of affinity with Tull. Burdon must have had pathcrosses will early Tull...he was SO involved with early Hendrix and so were Tull.
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Post by jackinthegreen on Jan 9, 2013 23:25:57 GMT
Interesting that both Craney and Giddings worked with Eruc Burdon...at different times...surely not the first guy you think of in terms of affinity with Tull. Burdon must have had pathcrosses will early Tull...he was SO involved with early Hendrix and so were Tull. Eric Burden has been around forever hasn't he..... I grew up with The Animals "House of the Rising Sun", and the brilliant "Don't let me be Misunderstood".. He is like Ian, a clever musician who thinks outside of the box, he formed a band called War, and at the time he was taking risks as the only white guy in the band, but the music was great. One of my fav albums to this day is The World is a Ghetto, by War, Eric was not part of the group by this time. Would Eric and Ian have been friends........ I doubt it...... Eric and Jimi yes.........but Eric and Ian I don't think so..... Incidentally, I can't find a copy of the Mark Craney album on Amazon or ebay......
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Post by maddogfagin on Jan 10, 2013 8:47:26 GMT
Great thread......I bought the Heart of the Land on seeing this here. I got it today, some really nice music on it. I have the Peter Green 2cd already, it's a good album I agree, I love Paul Jones beautiful version of Albatross. I believe that the Rory Gallagher tracks here were the last recordings he did, so very special...... I'm sure I have that Summer of Love 60's thing somewhere........ I think I will try and get the last one, the Mark Craney and Friends, looks interesting. Cheers......... I've always avoided buying compilation albums that contain a Tull track if the rest of the album seems an excuse just to rehash other compilation albums and their content and gain royalties off the back of a few "classics". Some of the older vinyl compilations which feature artists on one label (some of the early Chrysalis and Island compilation albums spring to mind) were the "bees knees" as far as I am concerned. "Something With A Pulse" is a great album and is worthy of being in a Tull fan's collection. James Taylor's "New Hymn" is a fine song.
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Post by broadsword on Jan 10, 2013 9:30:15 GMT
This was/is a good one, check the price - pre decimal coinage. 14/6 is 72 and 1/2 pence in new money. Spot IA, MB, Stevie Winwood........
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Post by nonrabbit on Jan 10, 2013 12:50:35 GMT
and i50.images obliterated by tinypic/2mwhtug.jpg[/IMG] i46.images obliterated by tinypic/2wf1jt2.jpg[/IMG] 1.Clive Bunker 2.Neil Hubbard 3.Gary Wright 4.Glenn Cornick 5.Bruce Rowland 6.Martin Barre 7.Mick Weaver 8.Ian Anderson 9.Patrick Campbell-Lyons 10.Ashley Hutchings 11.Alex Spyropoulos 12.Chris Wood 13.Richard Thompson 14.Ian Matthews 15.Steve Winwood 16.Ian A. Anderson 17.Jim Capaldi 18.Mike Harrison 19.Martin Lamble 20.Simon Nicol 21.Harry Hughes 22.Rebop Kwaku Baah 23.Chris Mercer 24.Simon Kirke 25.Paul Rodgers 26.Billy Ritchie 27.Andy Fraser 28.Ian Ellis 29.Sandy Denny I didn't realise that both Ian and Iain A. are on that cover
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Post by nonrabbit on Jan 10, 2013 13:05:39 GMT
The name Wynder K Frog caught my eye didn't realise they brought this out... cracking Mod pics by the way and look out for the St Cleve style sub heading on the newspaper at 2.22 "Sunday Joints Saved By Wives" ;D ;D video by Matthew East
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Post by earsoftin on Jan 10, 2013 13:18:59 GMT
Sorry to commit what is probably a posting crime, in linking two threads, but I was struck by this cover for a couple of reasons. One was to say thanks for posting the key, which is brilliant. I think a lot of us of a certain age were influenced by these fantastic compilations to explore new music - for me it was 'El Pea'. The second (and here is the link between two discussions) is the place of poor Sandy on the fringes of this bunch of blokes. I read an interesting, although bad-tempered, biography of her over Christmas which reminds you (as does this picture) of how much this music was dominated by men and to this end I'm also a little mystified by the possibility of isolating 'female friendly' Tull music. I think it's more a matter of the appeal of certain genres to certain groups, partly because of the musical and lyrical themes. 'Classic rock' (however we define that) does tend to be played by men and often is dominated by male concerns. Mr A. is certainly not innocent of this and I would imagine that many women might find 'Kissing Willie' a little off-putting. We seem to have moved a little (not far, I grant) away from the pigeonholing of musical tastes though - I think the work of Sandi Thom is interesting in this regard.
Another thought that occurs to me and this follows from the very valid point about the father-son concerns in early Tull - one of the attractions to me about Tull at an early age was how they looked. This was especially true of Ian, who was guaranteed to enrage parents - which was, of course, an attractive feature. He's certainly the hairiest one on this cover - the members of Free look almost respectable by contrast!
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Post by nonrabbit on Jan 10, 2013 17:57:57 GMT
Sorry to commit what is probably a posting crime, in linking two threads, but I was struck by this cover for a couple of reasons. One was to say thanks for posting the key, which is brilliant. I think a lot of us of a certain age were influenced by these fantastic compilations to explore new music - for me it was 'El Pea'. The second (and here is the link between two discussions) is the place of poor Sandy on the fringes of this bunch of blokes. I read an interesting, although bad-tempered, biography of her over Christmas which reminds you (as does this picture) of how much this music was dominated by men and to this end I'm also a little mystified by the possibility of isolating 'female friendly' Tull music. I think it's more a matter of the appeal of certain genres to certain groups, partly because of the musical and lyrical themes. 'Classic rock' (however we define that) does tend to be played by men and often is dominated by male concerns. Mr A. is certainly not innocent of this and I would imagine that many women might find 'Kissing Willie' a little off-putting. We seem to have moved a little (not far, I grant) away from the pigeonholing of musical tastes though - I think the work of Sandi Thom is interesting in this regard..... Yes it has moved on but by how much? Sexism when I was growing up in the 60's/70's was rife - it was a part of life. I once went for a job to a well-known insurance company and the old fossil who interviewed me said at the end; “Yes, you’re suitable for the job but you're a young girl - you'll meet a boy get married and then get pregnant so you won’t be here that long. Why should I give you the job?" That attitude was tolerated and certainly not subject to any legislation. In Glasgow and I'm sure other places too, there were still pubs that refused entry to women. The music industry was no exception. I once had to visit the A&R Depts. of most of the major record labels in London in the early 70’s, I didn’t come across any women working in the upper echelons of the companies. I liked rock music as a teenager, wasn’t into Folk and hated the Charts. I liked what was considered heavy at the time – Purple, Led etc. I socialised with people who had wide and varied musical tastes due to the eclectic range of music that was available yet I can’t really think of many – if any - women who were performing and successful in that genre. It’s a subject that interests me.
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Post by maddogfagin on Jan 10, 2013 19:17:22 GMT
Sorry to commit what is probably a posting crime, in linking two threads, but I was struck by this cover for a couple of reasons. One was to say thanks for posting the key, which is brilliant. I think a lot of us of a certain age were influenced by these fantastic compilations to explore new music - for me it was 'El Pea'. The second (and here is the link between two discussions) is the place of poor Sandy on the fringes of this bunch of blokes. I read an interesting, although bad-tempered, biography of her over Christmas which reminds you (as does this picture) of how much this music was dominated by men and to this end I'm also a little mystified by the possibility of isolating 'female friendly' Tull music. I think it's more a matter of the appeal of certain genres to certain groups, partly because of the musical and lyrical themes. 'Classic rock' (however we define that) does tend to be played by men and often is dominated by male concerns. Mr A. is certainly not innocent of this and I would imagine that many women might find 'Kissing Willie' a little off-putting. We seem to have moved a little (not far, I grant) away from the pigeonholing of musical tastes though - I think the work of Sandi Thom is interesting in this regard. You're right about the pigeonholing of musical tastes especially with regard to female artists. Sandy was a complex character and a person who had her fair share of problems and issues, many of her own making unfortunately. but there is an arguement that in reality she was the musical "leader" of the early Fairport during her tenure with the band, perhaps even more so than Richard Thompson. Another thought that occurs to me and this follows from the very valid point about the father-son concerns in early Tull - one of the attractions to me about Tull at an early age was how they looked. This was especially true of Ian, who was guaranteed to enrage parents - which was, of course, an attractive feature. He's certainly the hairiest one on this cover - the members of Free look almost respectable by contrast! So many of the artists then, and now, have one look for the stage and one for "normal" life. David Bowie is an artist who, in his formative years and on the fringes uf superstardom, was a rebel who stood out from the crowd but catch him backstage at the Three Tuns in Beckenham and he was a different character.
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Post by maddogfagin on Jan 11, 2013 8:34:37 GMT
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Post by maddogfagin on Jan 11, 2013 8:49:35 GMT
This was/is a good one, check the price - pre decimal coinage. 14/6 is 72 and 1/2 pence in new money. Spot IA, MB, Stevie Winwood........ This album has been released twice - once in its original form and then later with at least one act either replaced or deleted. I'll have a look through my vinyl when I'm next in the loft and see exactly what the difference is. Great album though in its original form.
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Post by maddogfagin on Jan 11, 2013 18:59:00 GMT
Chrysalis 25 Edited Highlights
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Post by maddogfagin on Jan 13, 2013 9:35:57 GMT
Nice Enough to EatNovember 1969 Side one 1."Cajun Woman" (Thompson) – Fairport Convention – (from Unhalfbricking (ILPS 9102)) - 2:41 2."At the Crossroads" (Sahm) – Mott the Hoople – (from Mott the Hoople (ILPS 9108)) - 5:28 3."Better By You, Better Than Me" (Wright) – Spooky Tooth – (from Spooky Two (ILPS 9107)) - 3:29 4."We Used To Know" (Anderson) - Jethro Tull – (from Stand Up (ILPS 9103)) - 3:58 5."Woman" (Fraser/Rodgers) – Free – (from Free (ILPS 9104)) - 3:45 6."I Keep Singing That Same Old Song" (Gibson) – Heavy Jelly – Island 7" (b/w "Blue") (WIP 6049) - 8:19 Side two 1."Sing Me A Song That I Know" (Abrahams) – Blodwyn Pig – (from Ahead Rings Out (ILPS 9101)) - 3:04 2."(Roamin' Thro' The Gloamin' With) Forty Thousand Headmen" (Winwood/Capaldi) – Traffic – (from Best of Traffic)[4] (ILPS 9112)) - 3:12 3.Time Has Told Me" (Drake) – Nick Drake – (from Five Leaves Left (ILPS 9106)) - 4:23 4."21st Century Schizoid Man" (Fripp/McDonald/Lake/Giles/Sinfield)– King Crimson – (from In the Court of the Crimson King[5] (ILPS 911)) - 7:20 5."Gungamai" (Rothfield/Shankar/Bhava) – Quintessence – (from In Blissful Company (ILPS 9113)) - 4:17 6."Strangely Strange But Oddly Normal" (Pawle) – Dr. Strangely Strange – (from Kip of the Serenes (ILPS 9105)) - 4:26
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Post by maddogfagin on Jan 14, 2013 9:01:46 GMT
Bumpers1970 Side One 1."Every Mother's Son" (S. Winwood) - Traffic (from John Barleycorn Must Die (ILPS 9116)) (7:06) 2."Love" (J. Roden) - Bronco (from Bronco (ILPS 9134))[3] (4:42) 3."I Am The Walrus" (Lennon/McCartney) - Spooky Tooth (from The Last Puff (ILPS 9117)) (6:20) 4."Jesus, Buddha, Moses, Gauranga" (Quintessence) - Quintessence (from Quintessence (ILPS 9128)) (5:15)[edit] Side Two 1."Thunderbuck Ram" (Ralphs) - Mott the Hoople (fromMad Shadows (ILPS 9119)[4]) (4:50) 2."Nothing To Say" (Anderson) - Jethro Tull (from Benefit (ILPS 9123)) (5:10) 3."Going Back West" (Cliff) - Jimmy Cliff (from Jimmy Cliff (ILPS 9133))[5] (5:32) 4."Send Your Son To Die" (M. Abrahams) - Blodwyn Pig (from Getting To This (ILPS 9122)) (4:35) 5."Little Woman" (Mason) - Dave Mason (no source listed)[6] (2:30)[edit] Side Three 1."Go Out And Get It" (J. Martyn) - John & Beverley Martyn (from Stormbringer! (ILPS 9113)) (3:15) 2."Cadence & Cascade"[7] (Fripp/Sinfield) - King Crimson (from In the Wake of Poseidon (ILPS 9127)) (4:30) 3."Reaching Out On All Sides" (Quincy/Fishman) - If (from If (ILPS 9129)) (5:35) 4."Oh I Wept" (Rodgers/Kossoff) - Free (from Fire and Water (ILSP 9120)) (4:25) 5."Hazey Jane" (Drake) - Nick Drake (from his album to be released Autumn '70)[8] (4:28)[edit] Side Four 1."Walk Awhile" (Thompson/Swarbrick) - Fairport Convention (from Full House (ILPS 9130)) (4:00) 2."Maybe You're Right" (Stevens) - Cat Stevens (from Mona Bone Jakon (ILPS 9118)) (3:00) 3."Island" (Relf/McCarty) - Renaissance (from Renaissance (ILPS 9114)) (5:57) 4."The Sea" (Denny) - Fotheringay (from Fotheringay (ILPS 9125)) (5:25) 5."Take Me To Your Leader" (Ellis/Ritchie/Hughes) -Clouds (intended to be on their Chrysalis album to be released Autumn '70)[9] (2:55) Interesting and informative overview of the album at www.oatridge.co.uk/bumpers.htm
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Post by maddogfagin on Jan 15, 2013 9:21:23 GMT
El Pea1971 Disc One: 1. Traffic -Empty Pages 2. Sandy Denny - Late November 3. Alan Bown - Thru The Night 4. Heads, Hands & Feet - Song For Suzie 5. Fairport Convention - Lord Marlborough 6. Jethro Tull - Mother Goose 7. Quintessence - Dive Deep 8. Amazing Blondel - Spring Season 9. McDonald & Giles - Extract From Tomorrow's People - The Children Of Today 10. Tir Na Nog - Our Love Will Not Decay 11. Mountain - Don't Look Around Disc Two: 1. Free - Highway Song 2. Incredible String Band - Waiting For You 3. Cat Stevens - Wild World 4. Bronco - Sudden Street 5. Mike Heron - Feast Of Stephen 6. Emerson, Lake & Palmer - Knife Edge 7. Nick Drake - One Of These Things First 8. Mott The Hoople - Original Mixed-Up Kid 9. Jimmy Cliff - Can't Stop Worrying, Can't Stop Loving 10. Mick Abrahams - Greyhound Bus
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Post by maddogfagin on Jan 18, 2013 18:47:48 GMT
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Post by jackinthegreen on Jan 18, 2013 19:56:02 GMT
Loved all those early samplers I had Nice Enough to Eat, Bumpers, El Pea, All Good Clean Fun which was another label I love the song Thru the Night on the El Pea album, the vocal is brilliant, and I read somewhere it was Robert Palmer.... It could well be..... I have the Tull Tales album, it's OK, I quite like the version of Cry You a Song, but don't like when Hughes does his screaming .....
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Post by maddogfagin on Jan 19, 2013 13:04:03 GMT
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Post by steelmonkey on Jan 19, 2013 16:14:41 GMT
How does this man-dookie character get all these great rockers to help him out? he must be saving orphans or curing cancer with his earnings...or some other secret back story that justifies the kind of 'too good for his station' help that only Ringo gets for his All-Starr bands.
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tullist
Master Craftsman
Posts: 478
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Post by tullist on Jan 19, 2013 17:40:01 GMT
How does this man-dookie character get all these great rockers to help him out? he must be saving orphans or curing cancer with his earnings...or some other secret back story that justifies the kind of 'too good for his station' help that only Ringo gets for his All-Starr bands. Let us be very clear on one thing Bernie. Richie has never ever been beyond his station with any of his All Star aggregations. Lack of respect for Ringo can be a by product of one too many precision paradiddles from the likes of Barrie. Indeed ask Barrie and pretty much any drummer familiar with credible music what they make of him. Ringo is a swingin' mf well versed in complimenting a song. And as far as his sixties beat combo goes it required his assistance in ways that are difficult to quantify, you can be certain that had Pete Best stayed in the band the Beatles would now occupy a station in collective memory not unlike Billy J Kramer and the Dakotas. I was lucky enough to be in London in 82 for a one week one off, strictly a coincidence that I was there, of Studio B at Abbey Road being open to the public for one week only, for the first time ever. In there, and this is well before the Anthology series, they were giving brief history lessons, including the information of the Beatles having come up with nearly all the songs on A Hard Days Night in a few days, under the directive of something along the lines of, We need some songs lads. Oh, gear. Of course one of Ringo's malaprops that gave it its title. But to hear, thru those same speakers the Beatles used, at 100 decibels or thereabouts, loud for sure, and sounding just like they were in the room, complete with conversation, joking, general Beatles behavior, the recordings of them putting the song A Hard Days Night together, probably over one or less than one day, to see it go from this thing being something battered out and invented on acoustic guitar, to this gleaming product exploding like a mighty force coming out of those speakers, with the precision and passion of Ringo's cymbal work in particular driving that sucker along with urgency, staring at his famous drum kit they had in there, u know, the one that says the Beatles on it, and still being so close in time to John's murder, not ashamed to say I was not the only one in there weeping. As wonderful as I have heard the Beatles sound in settings too numerous to recall, to hear them in that room with sound so clean that it was like you could just about touch them, really was a highpoint of this life. Those harmonies were like a mighty Beatles tornado. Hearing George try those various approaches before he got that opening guitar figure just right, truly mindblowing.
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Post by steelmonkey on Jan 19, 2013 19:30:04 GMT
Okay...I take it back....and come to think of it...Ringo DOES deserve to have his ring finger kissed by the likes of Joe Walsh and Peter Frampton and whoever else he schleps out onstage....I was mean to him beacuse i just finished reading the memoirs of a denver rock promoter named barry fey who complained that he could never say 'no' to booking Ringo but he always lost money...so whenever the all starr band hit the road he signed them up for red Rocks or wherever and took the financial hit because he knew not to say 'No' to R Starr.
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tullist
Master Craftsman
Posts: 478
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Post by tullist on Jan 19, 2013 22:24:04 GMT
Yeah B, I really know f**k all about Barry Fey because such little as I know are one parties side of events, re Grateful Dead and Tull. But I think the word notorious is sometimes ascribed to him. Well not sure what to say about the Ringo band, to me his service to this planet was paid between 1962 and 70. That is Ringo. And in such I believe a prime player, however inadvertently, of being a force behind what I believe to have been as positive a force as struck the human race in the century past. And I would struggle to believe that all these, basically the same halls Ian or Tull play I think, continue to book him just because they think he is a swell guy. I know he always has famous, (and in the case of Jack Bruce at least one year, someone I think most of us find totally credible), people playing with him. But yeah, guys who had been in BTO, or even Greg Lake, Joe Walsh and Todd Rundgren are likely to get me scurrying for a ticket, though I would always take a Ringo freebie. But with exceptions his story was written for me by 1970. I just spent time thinking and talking about Ringo. lol. hope he appreciates it. I am glad he is still married, I think that is very nice, I know there was turbulence. Pretty sure, though I do not know why, that Barry Fey was already the promoter at Red Rocks in 64 when the Beatles played there, so maybe he felt some sort of eternal debt, cannot imagine it hurt his own local credibility. Since I have been going off about Ringo, might as well post my favorite Beatles era Ringo spot, Matchbox. Though Ringo could play with dexterity and subtlety this is what he most excelled at was having a good bash like this. Forget who this was. Buck Owens? Carl Perkins? I do know I loved hearing any of the Beatles say the name Carl Perkins, particularly George. youtu.be/IoFKtR-M88A
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Post by steelmonkey on Jan 19, 2013 22:33:53 GMT
Fey's book is mandatory...but only for Denver boys.....notorious amongst other things but almost as important as mom, dad , weed and music to my age group. 'Feyline productions' a very important part of my formative (such as they were) years. He's from Chicago.
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Post by steelmonkey on Jan 19, 2013 23:08:15 GMT
But I still don't know how Man-Dookie gets Ian quality helpers on his K-tel quality productions.
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