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Post by maddogfagin on Apr 10, 2022 16:28:19 GMT
www.dailystandard.com/archive/2022-04-09/stories/45104/where-were-you-in-72Where were you in 72?Pop culture exploded 50 years ago By Leslie Gartrell . WAPAKONETA - Pop culture in 1972 saw Richard Nixon's landslide, "The Godfather," the rise of major music festivals and "Pong," the first real video game. ---------------------------------------------- Rock and classical music combined to create progressive rock, also known as prog rock, Donahue said. Prog rock songs could span well over six or 10 minutes, which made for an orchestral listening experience. The musical stylings of Pink Floyd, Yes, Jethro Tull and Emerson, Lake & Palmer featured complex instrumental and compositional techniques. Jethro Tull's "Thick as a Brick" was one of the best-selling albums in 1972, Donahue said.
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Post by maddogfagin on Apr 17, 2022 17:45:30 GMT
rocknheavy.net/jethro-tull-25th-anniversary-tour-3fca9b88e57dMuralidharan PC June 11, 2021Jethro Tull, 25th Anniversary TourThrowback to 1994. The first time I saw an international act live. The month of February in Madras, India is a time when the sun doesn’t flog its might on its lovely citizens. Yet. The air is still balmy. ‘Hot,’ the word used to describe the charming coastal city’s usual weather pattern, was still a month or two away. On February 20, 1994 though, Jethro Tull landed in Madras and turned on the heat for over two hours with a blistering performance. It was the last leg of their 25th Anniversary India Tour, after playing in Bombay and Bangalore. And what a show it was! The concert ambiance was something that was new to me. As we walked past the large parking bay at the YMCA arena, one could hear music screaming out of car radios. Much of it wasn’t just from the Tull catalogue, but classic rock nonetheless. The bonnets of the parked cars served as makeshift bar counters and the evening sea breeze wafted in with copious whiffs of spliff. My cousins and I were buzzed to the brim, waiting for Ian Anderson, Martin Barre, Andy Giddings, Doanne Perry, and Dave Pegg to start the magic. The stage, as I remember, was sparse. A clothesline hung across the front with some underwear and tees. A lady walked in and swept the front of the stage. And the band members appeared next, welcomed by a rip-roaring reception from the crowd. With a hint of British humour, Ian announced: “We didn’t even have the time to wash our underwear as we flew in from Bangalore just now (as he picked those undies from the clothesline and threw it aside). Now that’s out of the way, how are you doing, Madras?” By 1994, Jethro Tull had become part of Rock Royalty, selling over 30 million records, with 14 of them going platinum. So to have a band of such enormous stature, playing in front of a splendid crowd, was a sight to behold. I don’t remember every song they played that day. But I do distinctly remember that they didn’t leave out the best ones from their two-hour set. ‘Songs From The Wood,’ the charming tale of British rural life, woven with folklore and fantasy was the opening number. They segued into the Crest Of A Knave album and performed the American social justice anthem, ’Farm On The Freeway.’ Next, I remember they sauntered back in time to their earlier records and played ‘A Song For Jeffrey’ and ‘A New Day Yesterday.’ The crowd waited in anticipation for the one-legged flute maestro, Ian to whip out his favourite instrument and play the JS Bach tribute, ‘Bouree.’ And he did it so brilliantly that the crowd was mesmerised and jubilant in equal measure. Another crowd favourite, a tale about an old biker who refuses to change his old familiar ways, ‘Too Old To Rock n’ Roll, Too Young To Die’ was a splendid sing-along piece for the ecstatic audience. Trivia has it that, although this song was about a biker, Ian Anderson chanced upon the title (‘Too Old…) after an incredibly turbulent flight in the US. As the crowd was getting rapturous and overwhelmed with all the great music, we realised Tull had already been playing for over an hour and a half. We weren’t sure at that time how long the show would go on. Ian Anderson then swiftly harked us back to his life in the farm, with Martin Barre’s opening riff of ‘Heavy Horses.’ A personal favourite, this song much like the ones from ‘Songs From The Wood,’ has a nostalgic take on farming and the disastrous effects of modernisation. The full panoply of pastoral songs that Ian wrote during the late ’70s are testimony to Jethro Tull’s powerful commentary on society’s rampant, capitalistic sojourns. Finally, the show reached its crescendo with two of their finest songs serving as an appropriate coda to a stellar evening. I could remember the crowd going absolutely delirious when Martin Barre played the stupendous opening riff of ‘Aqualung’ — DA DA DA DA…DAA DAA! Considered as one of the best riffs in rock, this one had long been embedded in the hearts of all Tull fans. Barre slowly ratcheted it up a notch higher and skated through the fretboard with wonderful precision, as Ian and the crowd sang along. The next one, their closing number, brought in a maelstrom of emotions in every single fan who watched them that evening. It was the fantastic ‘Locomotive Breath,’ a saga about how we are on this frenetic runaway train of unbridled capitalism and feverish debauchery. Where do we get off? That’s a pertinent question Ian asks in the track. The audience, that night in ’94, wasn’t ready to get off this incredible magical ride that Ian and his band had taken them on. After 27 years, I am still reminiscing about that evening, a whirligig of time that promises not to pause. If Ian were to sing today, “Do you still remember December’s foggy freeze?,” I’d say, “I sure as hell do, that fabulous evening, way back in ‘94!”
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Post by maddogfagin on Apr 20, 2022 5:45:47 GMT
aura Shenton - Talks about her book 'Jethro Tull: Chronicles 1967-79' - Radio Broadcast 11/04/2022
Raised On Radio 44.6K subscribers Laura Shenton talks about her book Jethro Tull Chronicles 1967-1979, Early Days, Folk/Rock, Line-Up Changes, Recognition, Music Press, Live Concerts, Studio Work, Record Labels, Japanese Fans and Band Billing.
Interviewed By: Giles Brown
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Post by maddogfagin on Apr 24, 2022 5:47:48 GMT
rockandrollgarage.com/what-is-ian-anderson-jethro-tull-opinion-on-led-zeppelin/Images from Jethro Tull's website and Led Zeppelin's InstagramARTICLESWhat is Ian Anderson’s (Jethro Tull) opinion on Led ZeppelinByRafael Polcaro Published on 04/22/2022 SHARETWEET Multi-instrumentalist and singer Ian Anderson made history in Rock and Roll music as the leader of the important British Progressive Rock band Jethro Tull. Professional musician since the 60s, Anderson had the chance to also witness many incredible bands appear on the scene and he talked about many groups over the decades. In an interview with EON Music back in 2020 the musician gave his opinion on Led Zeppelin and talked about how some of their music might be close to Prog Rock. What is the opinion of Ian Anderson on Led Zeppelin:“Well, Led Zeppelin, like Jethro Tull began really, with a background in essentially, black American blues. But clearly it was in the song writing of Page and Plant, that it moved towards something that has every right to be called progressive rock. I don’t think it was a term usually applied to Zeppelin. Because they were in a world of their own, much of the time.” “But looking back at it, there’s a lot of their work. Things like ‘Kashmir’, things that are very clever, quite complicated progressive rock ideas. Taking elements of rhythm and melody that were quite often deriving in influence-terms from other cultures, other music styles. So Zeppelin had, rather like Jethro Tull after the first album anyway, a very eclectic mind of musical taste and musical influence.” What is Robert Plant’s memory of having Jethro Tull as Zeppelin’s opening band in the late 60sIn an interview with Independent back in 2013, Led Zeppelin vocalist Robert Plant recalled that not everything was good when Jethro Tull opened for them back in the late 60s: “I remember Jethro Tull. You know, the funny thing I remember was that they had this right-wing management team with this ironclad edict that no one from this band could fraternize with anyone from any other band.” “The bass player got fired because he came out and played with us after the show when we were out being boys. But God bless Ian Anderson.” What Jethro Tull’s Ian Anderson says about the tour with Led ZeppelinJethro Tull toured in the United States as the opening act of Led Zeppelin and Vanilla Fudge. In the interview with EON Music in 2020 Anderson recalled that he didn’t spoke much with Zeppelin members during the tour, saying: “Led Zeppelin were Led Zeppelin. They were rock gods. We were the humble support act. And we rarely spoke. Particularly to Robert, who was on a higher plane, as a vocalist, and as a person.” “Jimmy Page was a little bit more friendly. But Bonham, you steered a mile away from, because he was a raving nutcase! He was always polite enough to me. But I probably just saw him on a rare good mood.” “I think to some extent, the stories of Led Zeppelin being hell raisers who barged their way across America, there is an absolute element of truth about it. But probably wildly exaggerated,” Ian Anderson said. Ian AndersonThe youngest of three brothers, Ian Anderson’s family moved to Edinburgh when he was 3. With influence of his father’s big band and jazz records, Anderson also was in love with Rock music during his youth. In 1959 his family moved to Blackpool, England. There he studied at the Blackpool Grammar School. Then from 1964 to 1966, he learned fine art at the Blackpool College of Art.
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Post by maddogfagin on Apr 27, 2022 7:39:04 GMT
www.loudersound.com/features/we-used-ai-to-write-song-lyrics-in-the-style-of-real-bands-and-the-results-were-mixedWe used AI to write song lyrics in the style of real bands and the results are mixedBy Fraser Lewry ( Classic Rock ) published about 3 hours ago Just in case Metallica, Judas Priest, AC/DC, Lynyrd Skynyrd and the rest run out of ideas Talk to the scientists, and they'll tell you that Artificial Intelligence will change our lives. There might be arguments over the form this change will take – some say that AI will replace our jobs, freeing us to go fishing or play tennis while enjoying a generous universal basic income, while others predict a world riven with inequality, societal breakdown and chaos – but change is coming. ---------------------------- Jethro TullI'm a folk rocker, I've got the flute and the look But don't mistake my style for Jethro Tull Got my own sound, that's what keeps me afloat Ain't no wannabe - I sing original! Well there's people who think I should tap into old school But I'm charting new territory in this musical world. So give me some space and some time to grow Stay tuned 'cause you'll see how far this flute can go
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Post by maddogfagin on Apr 28, 2022 6:02:13 GMT
www.ultimate-guitar.com/Kirk Hammett Said He Only Got Into Prog Five Years Ago, Names Jethro Tull Album That Made Him a Fan"I never ever had paid much attention to Jethro Tull; I just never did. And it didn't help losing to them in 1989 for that Grammy." Posted 6 hours ago In a recent interview with Goldmine, Metallica's Kirk Hammett recalled how he only got into prog five years ago, explaining that Jethro Tull's sophomore album "Stand Up" had a lot to do about it. Kirk Hammett explained how he was never much of a prog fan before that point, but even so, Hammett, alongside the rest of Metallica, is well acquainted with Ian Anderson's brainchild, not least because of the infamous Grammy loss of 1989. That year marked the first time that the Grammys officially recognized hard rock/heavy metal (albeit combined) with the Best Hard Rock/Metal Performance Vocal or Instrumental category. Although most people expected Metallica's 1988 "... And Justice for All" to become the prize's inaugural winner, it eventually went to Jethro Tull's 1987 LP "Crest of a Knave". Upon discovering Jethro Tull's music for the first time several years ago, Kirk Hammett recalls having a genuine "wow" moment as his first reaction: "I just really got into prog about five years ago. I wasn't into prog. Just accidentally I heard Jethro Tull 'Stand Up' and I went, 'Wow.' I never ever had paid much attention to Jethro Tull; I just never did. And it didn't help losing to them in 1989 for that Grammy. [laughs]" However, it's not because of the 1989 Grammy loss that Hammett didn't get into Jethro Tull earlier. Instead, he names a much less dramatic (and completely understandable) reason for it - he simply didn't get around to do it. Hammett said: "But that's really not the reason why I wasn't into Jethro Tull, believe me. I just never got around to it. Sometimes you just don't get around to certain things. So, I ended up checking out their entire catalog and now I'm a full-on Jethro Tull fan." link
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Post by maddogfagin on Apr 29, 2022 16:20:03 GMT
i95rock.com/florida-cops-chase-capture-and-arrest-goat-for-running-amok/ROCK SONGS WITH WEIRD/HILARIOUS LYRICS PART ONEJethro Tull - 'Aqualung'"Sitting on a park bench, Eyeing up little girls with bad intent, Snots running down his nose, Greasy fingers smearing shabby clothes, hey Aqualung" Before I address the lyrics here I need to tell you I am and always will be a Jethro Tull fan, more specifically I am a huge Ian Anderson fan. Ian came on the Ethan & Lou show a few years back and was angry in the most delicious and funny way possible. He all but admitted he hates everything and everyone and I became a lifelong fan at that moment. As far as this song goes, you can't paint a more descriptive picture of an unsavory character than they do so great writing. On the other hand, ugh, I could have done without it.
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Post by maddogfagin on May 5, 2022 5:50:36 GMT
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Post by maddogfagin on May 11, 2022 5:28:25 GMT
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Post by maddogfagin on May 15, 2022 16:51:02 GMT
www.talkhouse.com/i-cant-get-anybody-into-jethro-tull-and-i-love-it/I Can’t Get Anybody Into Jethro Tull (And I Love It)Morgan Enos (Other Houses) on the prog legends’ new album and the joys of private musical communion. By Morgan Enos | February 1, 2022 The first is Randy Newman. “But he’s a mordant and incisive artist,” I say! “He has songs about bigotry and child murder and beating people up!” No dice: I guess the Pixar soundtracks are insurmountable for some people. (To clarify: I love those, too.) The second is Steely Dan. Despite their black humor and Serious Music bona fides (Wayne Shorter, Steve Gadd, and the Brecker Brothers played with them, for chrissakes!), I guess the yacht-rock perception remains — despite bearing zero aural or aesthetic resemblance to, say, Seals and Crofts. It’s the third I want to talk about: Jethro Tull. Newman may be an acquired taste, but much like The Dan, I argue that they offer something for most people. Thunderous hard rock? Dig Stand Up and Aqualung. Jingle-jangling folk? Head straight for Songs from the Wood and Heavy Horses. Electronic textures? Crest of a Knave. Knockout acoustic ballads? All over the place. Certain tunes, like “Wond’ring Aloud,” “Really Don’t Mind,” and “One White Duck / One White Duck / 0¹⁰ = Nothing at All,” I’ll take to my grave. And their first album since I was 11, The Zealot Gene — which arrived January 29 — just gifted me a few more. While Ian Anderson may be the only original member of the band, The Zealot Gene sounds more like their most beloved work than anything they’ve done in 30 years. But more importantly, highlights like “Jacob’s Tales,” “Sad City Sisters,” and “Barren Beth, Wild Desert John” rank among Anderson’s most psychologically rich and incisive offerings. All that said, despite a dozen albums I could cite — and my readymade treatise about the mystique, curiosity and raw intellect therein — I rarely get more than an, “Oh… cool” when I rave about Tull. This happens even when my captive audience is already a disciple of other progressive giants, like King Crimson, Genesis, or Yes. Given that I’m unable to call up my late father, a Tull disciple, I can feel somewhat solitary in this musical obsession these days. (Caveat: my wife, Brenna — who was reared on acts like the Chieftains — connects to the traditional-folk elements.) But perhaps there’s something to having a musical fondness that I share with few others I know. I love the Beatles, the Stones, and the Who, but they could never be mine. Tull feels mine. Allow me to theorize as to why Jethro Tull remains bizarrely underrated. Sure, they were a staple of classic rock and remain household names — even somebody with no real connection to their music probably knows the flute, the haggard fellow on the cover, and the “Aqualung, my friend” line. But whether it was due to the codpiece, the onstage pirate ship, the 45-minute song, or their ill-advised dalliance with the saxophone, Tull comes with some… connotations. And I understand: for every flawed album I vociferously defend, there are a few — like War Child, A Passion Play, and Under Wraps — that I never listen to at home. If those were their introduction to the band, I totally get why someone would pass. It helped that I started young. Even in my single digits, my dad taught me to listen to and understand their lyrics, even pausing the elliptical “Moths” over and over in his Honda Prelude so I’d absorb every line. Raised as one of Jehovah’s Witnesses — a denomination that emphatically opposes the trappings of mainstream Christianity — I was reared to grasp Anderson’s anti-dogmatic feelings in “Wind Up.” And growing up in nature on a steady diet of Tolkien, I could imagine “Jack-in-the-Green,” about a character somewhere between Tom Bombadil and Radagast, as a raggy denizen of my verdant surroundings. That’s all to say: it’s not like I grew to love Tull after I underwent the usual musical phases, from psychedelia to punk to hip-hop. I will freely admit that their connection to a beloved parent and my earliest memories makes me biased — an eternal Tull apologist. Anyway, to cite the Beatles again, the Get Back discourse was a startling reminder of their universality; everything I’ve mapped onto their story proved to be one tiny constellation in a supercluster of galaxies. But with pretty much just a smattering of my in-laws back home and some greyhairs on fan-sites aboard the Tull train, the communion feels more private — and therefore more special. I’ll make another admission: Tull’s acoustic material does more for me than the rockers, even though I love many of the rockers. This holds true for The Zealot Gene. While the blazing “Mrs. Tibbets” and “Shoshanna Sleeping” are great, it’s the suite of ballads near the end, from “The Betrayal of Joshua Kynde” to “In Brief Visitation,” that most speaks to me. And, gosh, that last one: I honestly can’t get it out of my head. Drawn from the Gospels of John and Luke, Anderson uses Christ as a launchpad to consider “fall guys” of all stripes. Wait a minute: Jesus as a fall guy! The notion would be off-putting if I didn’t know about Anderson’s abiding support for Christianity, or if the song wasn’t suffused with such love and wonder. “There are probably other cases where people who probably do good things still end up being pilloried in some way because they’re easy targets,” Anderson explained to me during a recent GRAMMY.com interview. That makes me think of Tull’s place in the musical landscape: beloved by a global cult fanbase, but largely frozen into an Anchorman joke otherwise. I’m at peace with that: if Anderson’s questionable, mid-’70s stage outfits made you head for the hills, great: more for me! Maybe they’re too brainy, too silly, too theatrical, too ambitious, too erudite, too comfortable with “uncoolness” for the hipster reappraisal train to pick them up along with ELO and the Grateful Dead. But for me, those are the exact qualities that make Tull like coming home. (Photo Credit: Heinrich Klaffs)
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Post by maddogfagin on May 18, 2022 15:47:51 GMT
whiplash.net/materias/shows/130365-jethrotull.htmlShow Reviews | Jethro Tull Ian Anderson in RJ: his flute is magical and enchantsReview - Ian Anderson (Citibank Hall, Rio de Janeiro, 05/15/2011) By Erick Carvalho de Mello On 05/17/11"We'll go walking out while others shout of war's disaster. Oh, be forgiving, let's go living in the past." - Living in the Past, Jethro Tull . May fifteenth of two thousand and eleven. Certainly this day will be marked for many, many years in my mind by the musical delight presented by Mr. Ian Anderson in Rio de Janeiro. Jethro Tull 's eternal frontman's concert at Citibank Hall presented one of the most memorable shows I have ever witnessed in my life. Not just because I'm a huge fan of Ian and all of Jethro Tull 's music , but because of Ian's charisma, his mannerisms, and above all, his intimacy with the stage and with the audience. His flute is magical and enchants. And speaking of audiences, we can't help but say how heterogeneous Jethro Tull 's fans are. It is equally pleasant and strange to note that the paying audience yesterday at Citibank Hall ranged from teenagers to 60-year-old krona. Generations of grandparents, parents and grandchildren together in their chairs waiting for the tireless Ian Anderson to enchant them with his flute. And put tireless in it! Ian Anderson didn't stop for a second! From the bombastic and nostalgic beginning of the show with Living in the Past to the grandiose finale, He didn't stop for a minute on stage, always with his jokes, dances, jumps and the traditional tossings while holding his proverbial flute. I already miss Ian Anderson, that's the truth. Right after "Living in the Past", "Up to me" came to get me so excited that the show was almost complete for me. But not! Ian still had several rabbits in his hat, or a hare, quite true, as in the beautiful song "Hare in the Wine Cup." However, what really raised the audience to a standing ovation were the incredible versions of "Bourée" and "Thick as a Brick" that followed. And when everything seemed to be out of the control of mere mortals, Ian Anderson struck once again with "Songs from the wood" and "Budapest", one of the most mesmerizing songs ever created by Mr Anderson. Nothing could be better, except the incredible version of "Aqualung" that this year completes 40 years of its release. The ending was behind the encore with an overwhelming version of "Locomotive Breath" that not only thrilled the fans but motivated them to leave the shackles of their chairs and head to the edge of the stage to feel the emanations of Ian Anderson up close and for one last time. A true magic flutist.
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Post by maddogfagin on May 24, 2022 14:47:50 GMT
wblm.com/bangor-police-department-came-up-with-hilarious-new-slogan-for-blinker-awareness/Look who is up to their up old tricks again. It's everyone's favorite community of cops (well, I guess not your favorite if you live a life of crime), the Bangor Police Department. The often-viral department has hit Facebook once again. Bangor PD's own Lieutenant (and noted author) Tim Cotton decided to post the message to remind the masses of what's important...and something that Mainers are notoriously known to not do, use blinkers. The Bangor PD have decided to bring more awareness to using the blinker. They even came up with the amazing slogan of "Try using it. I mean, it's right there on the steering column." You can't make this stuff up, folks. Hey, it's a good campaign. Mainers are absolutely horrendous about using blinkers. Out-of-state family and friends love to point it out when visiting. Even worse, I'm pretty sure I didn't use my blinker twice on the way to work today. It's a real epidemic in these parts. I'm happy that the Bangor Police put this out. In all seriousness, it's a very important message that many Mainers need to be pay more attention to, including yours truly. This is another wonderful, yet very informative post from Lt. Cotton and the Bangor Police Department. They continue to embrace new media and find ways to interact with the community for the better. This type of interaction is a great example of the forward-thinking leadership that the Bangor community should be very proud of. Every Classic Rock Artist Ever At The Old Bangor Auditorium These classic rock artists and their history with Bangor go back to the early '70s. Check out everyone who played the old Bangor Auditorium. ------------------------------ Jethro Tull - 10/15/1972Jethro Tull came to town back on October 15th, 1972... Approximately 27 years before they would go on to steal Metallica's first metal Grammy. Yes, that happened...
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Post by maddogfagin on May 26, 2022 5:49:38 GMT
www.ratherrarerecords.com/standing-up/this was a time when it would benefit an artist to stand up September 12, 2018 by Neal Umphred I WAS ONE OF THOSE TEENS who prided themselves in having a really cool record collection, bragging about albums and singles few of my clueless high school peers had ever heard of. So, of course, I was a big fan of Warner/Reprise Records in the late ’60s. Aside from championing my beloved Kinks (and Grommett save them!), by 1970 they had signed one of my heroes, the all-but-unknown Neil Young, and the group that was fast becoming my new obsession, the Beach Boys. So, of course, I was one of the first to send off my $2 for THE 1969 WARNER/REPRISE SONGBOOK, the two-record sampler of artists on their catalog who weren’t selling millions of records. When I received the album in the mail, I immediately put it on my record player. After getting past the ridiculous opening track by Wild Man Fischer, there was this brilliant thing called My Sunday Feeling lifted from the 1968 album THIS WAS by Jethro Tull.1 As brilliant as the track was, it wasn’t brilliant enough to get me to spend what little money I had on an album by Tull. Then came THE 1969 WARNER/REPRISE RECORD SHOW with the excellent Fat Man from Tull’s new STAND UP album (1969). Later in the year, THE BIG BALL included Nothing Is Easy, again from STAND UP. Jethro Tull should have been inducted into the bloody Rock & Roll Hall of Fame twenty years ago!By now it was 1970 and I was in college and had my own apartment, which quickly turned into a refuge for the hippie wannabes and countercultural hangers-on. One day one of whom brought the new Jethro Tull album over to hear on my stereo. 2 On my first hearing of BENEFIT, I was hooked! I bought my own copy and played it regularly for visitors. Then I got around to buying the first two Tull albums, but they didn’t move me like the third one. In 1971, I awaited AQUALUNG but was hugely disappointed when I finally heard it. I really can’t say why: I just didn’t connect emotionally, intellectually, or spiritually with the songs. Or maybe I just didn’t grok the group and their new direction. I was in the minority here, as AQUALUNG was the album that broke Jethro Tull and opened up a whole new audience, selling millions of copies to those clueless former peers of mine. Which brings us to this morning’s batch of emails and a request from Shaun Roberts to answer the question, “Where does Jethro Tull fit into rock history.” As I like to keep my answers on Quora short and sharp, here’ is what I wrote as my answer (indented between the two images below): The 1969 Warner/Reprise Songbook was the first of the company’s loss leaders series. It was a two-record set that featured twenty-eight tracks by artists that weren’t selling as many records as the company believed they should be. It was here that I heard my first Jethro Tull track.Jethro Tull and the Hall of Fame Thanks to Shaun Roberts for requesting that I answer the nagging question, “Where does Jethro Tull fit into rock history.” I even ventured further and addressed the unanswered question, “Should Jethro Tull be in the Rock & Roll Hall of Fame?” • Jethro Tull was critically and commercially successful in four decades (five if you want to be generous). • Jethro Tull released almost thirty albums during that time (counting live sets but not compilations), several of which are at least 4-star records. • Sixteen individual Jethro Tull albums have RIAA Gold Record Awards, making them one of the most certified artists to emerge from the ’60s. 3 It’s hard not to arrive at the conclusion that Jethro Tull should be taken seriously by any history of rock music as a major creative force for almost twenty years. I have no idea why Jethro Tull wasn’t inducted into the bloody Rock & Roll Hall of Fame twenty years ago! Maybe they need to make a few rap records to impress the folks on the Hall’s nominating committee. 3 The 1970 album BENEFIT was the first Jethro Tull album that I owned and remains my favorite of their albums almost fifty years later. Summing things up That sums things up neatly, I should think. What can one say about the music of the late ’60s and early ’70s? This was a time when an artist could benefit from standing up, from saying something different, from sounding different. Jethro Tull certainly stood out, sounding nothing like any other artist at the time. Fifty years later, I still have a fondness for the first three Tull albums with BENEFIT remaining my fave. I still don’t care much about the music that Tull made afterward, much of which continued to sell in large quantities. Fortunately, the world doesn’t revolve around my taste . . . I have no idea why Jethro Tull wasn’t inducted into the bloody Rock & Roll Hall of Fame twenty years ago!CLICK TO TWEET JethroTull Devonshire1970 1000 FEATURED IMAGE: The photo at the top of this page of was taken at Devonshire Downs in 1970. As British as that sounds, the Downs were located in Northridge, California. Bass player Glenn Cornick backs flutist and vocalist Ian Anderson.
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Post by maddogfagin on May 29, 2022 14:04:19 GMT
technotrenz.com/Keith Richards once gave hysterical reviews of ten other rock bands, including The Band (‘a Little Too Perfect’) and the Bee Gees (‘All Kids Stuff’).Kurt Micheal Kurt 1 day ago Even The Rolling Stones’ fаvorite bаnd, Jethro Tull, wаs not immune to Richаrds’ scаthing аssessment of how difficult it is to mаke it in Americа. “It’s very eаsy to become а pаrody of yourself,” he explаined, expressing hope thаt “Iаn Anderson doesn’t get into а cliché thing with his leg routine.” link
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Post by rredmond on Oct 15, 2022 16:10:17 GMT
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Post by JTull 007 on Jan 7, 2023 16:44:48 GMT
'Jeopardy!' Lambasted for Forgetting Major Rock Band in Recent Category By ANDREW ROBERTS - January 6, 2023 08:48 pm EST LINKJeopardy! is always rubbing some folks the wrong way when it comes to some of the clues and answers contestants encounter. Seek out a fanbase and you can likely find some outraged souls who have been burned by the quiz show.
Recently, that group belonged to the music world and they were livid that their favorite wasn't represented in a special category. And to be fair, it is an odd omission to leave Jethro Tull out of the category of "Classic Flute Rock."
None of the questions in that category dealt with Jethro Tull or frontman Ian Anderson, best known for his flute antics on stage. "No Jethro Tull in the Flute Rock category?? Are you crazy or just ill-informed??" one fan unloaded on social media."Seems blasphemous to have a 'flute rock' category without a Jethro Tull question/answer," another added.
And as The New York Post shares, Ian Anderson is the only rocker many could have named in the category, which may lead to why he wasn't featured. There are plenty of options to pull from, though, even if Tull is tossed to the side like a pile of garbage.
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Post by tinkletron on Mar 3, 2023 15:52:16 GMT
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Post by rredmond on Apr 24, 2023 14:55:33 GMT
New article, oldish kind of list singersroom.com/w4/best-jethro-tull-songs-of-all-time/“Bungle in the Jungle” is a popular song by the British rock band Jethro Tull. It was released in 1974 as a single from the album “War Child” and became a major hit, reaching the top 20 on the US Billboard Hot 100 chart. The song features the band’s signature blend of folk, rock, and classical music, with Ian Anderson’s distinctive vocals and flute playing at the forefront. The lyrics tell a whimsical story of jungle animals and their adventures, with a playful and upbeat tone that captures the band’s sense of humor. “Bungle in the Jungle” remains a fan favorite and a classic example of Jethro Tull’s unique sound and style. Its catchy melody and infectious energy continue to delight audiences today, making it a beloved addition to the band’s impressive discography. Hit link above for the rest of the article.
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Post by bunkerfan on Jun 3, 2023 6:56:54 GMT
This article was in the Financial Times recently........
Jethro Tull’s Ian Anderson: ‘If we appear bombastic and pompous, well — that’s OK'
One of the creators of prog rock is returning with an ambitious album about Norse mythology
Ian Anderson won’t shake hands with me. Professional caution is the reason, not haughtiness. Jethro Tull’s leader, and rock’s most famous flautist, injured his hand some years ago falling from a stage during a soundcheck. Submit to the FT’s firm clasp and, ouch, flute fingering will be agony. “A couple of burly Russians have done it in for a couple of days,” he explains, holding up the delicate digits. “And curiously enough, a lady oboist. You might’ve thought she’d have known better.” We touch elbows instead. Our location is the handsome 18th-century manor house in Wiltshire with 400 acres of land where Anderson lives with his wife, Shona. We install ourselves at a dining table in a wood-panelled room lined with framed antique prints of fish. Opposite me in this old-school tableau of rock squirearchy sits the mastermind of one of the most successful British bands from the 1970s — and also one of the most unfairly treated. Founded in 1967, Jethro Tull were among the first wave of acts to be dubbed “progressive rock”. Their setup was eccentric even by prog’s standards. Anderson capered around the stage like a jester, pausing to play vigorous flute solos standing on one leg. “A stork with St Vitus’s dance,” the music press called him. His costumes involved faux-medieval garb including a codpiece and an old overcoat his father had given him.
Untrained in music, the former art student was an inventive instrumentalist, blowing riffs and solos on his flute as though it were an electric guitar. He was also a fine vocalist, investing his erudite lyrics with baritone vibrancy. Songs tackled ambitious concepts such as the themes of spiritual faith and hypocrisy that Anderson addressed in 1971’s Aqualung, a big hit on both sides of the Atlantic. Those were the days when a codpiece-wearing rocker with a line in ribald stage chat could turn a fascination for comparative religion into platinum records. “It’s dirty work but someone’s got to do it,” Anderson says jovially. With an estimated 60mn album sales, Tull — named after an Enlightenment-era agriculturist: a misprint made them “Jethro Toe” for their first single — are still active. The bespectacled, goatee-bearded Anderson, 75, is the onlyremaining original member. Last year’s The Zealot Gene was the first Jethro Tull album to enter the UK top 10 since 1972. And now comes a follow-up, RökFlöte. “To go in with a blank canvas, or a blank mind, with no real idea of what’s going to ooze out, is a good test to see if you have that stuff still flowing, or oozing, as it comes rather slowly,” he says. His richly oratorical voice, a thing that both oozes and flows, bears scant trace of the accents of his upbringing, first in Scotland, then from the age of 12 in Blackpool, the Lancashire seaside resort. “Let’s make a real rock-flute album,” he told himself when he began his new songs. A day later, the idea had shifted to “Rök” — “meaning, in Old Icelandic, destiny” — and “Flöte”, the German pronunciation of flute. “So you could be clever about it and describe it as ‘The Flute of Destiny’, but I think that’s more of a Rick Wakeman kind of thing,” he chuckles, tweaking the nose of his fellow prog grandee.
RökFlöte reverts to the classic sound of early 1970s Tull, before they took a folkier turn, and then an electronic synthesiser-led one in the 1980s. It’s inspired by Norse mythology, a topic he felt inhibited from writing about because of their “heavy metal and ultra-right-wing associations, complete with umlauts flying left, right and centre”. But he came to realise that was a challenge, not an obstacle. His own politics are hard to pin down. He’s a member of the Labour party, he tells me, and also the Scottish National party. Hang on, I protest: you can’t be a member of more than one. “Well, they don’t stop you,” he ripostes. He’s also a member of the Liberal Democrats, and was a member of the Conservative party until Boris Johnson’s 2019 election triumph, when his wife “in a fury took the scissors to both of our Conservative party cards”. Anderson is droll yet also takes himself seriously, a combination apt to wrongfoot people. “As a songwriter I like words and I like having fun with words,” he says. He distinguishes his tone from what he calls “Prince Harry songs” — “rather introverted, pouring out of the soul, heart-on-sleeve stuff that I’m not very good at doing because I’m not that kind of a person”. Back when they were riding high with Aqualung, Jethro Tull attracted high praise from critics. Anderson was compared to Mick Jagger for his onstage antics, while the group’s combination of intelligence and zaniness was judged the equal of Frank Zappa’s band The Mothers of Invention. But the qualities that elevated Tull to the top tier were turned against them.
The abuse meted out to 1973’s A Passion Play marked the turning point. The story of a dead man in the afterlife, it reached number one in the US but was assailed by reviewers, capriciously attacking the same dauntlessness that they had before applauded. A few years later, punk’s Jacobins administered a further kicking. Anderson and his merry band were caricatured as all that was most absurd and contemptible about prog rock. “I got used to being hammered by the press,” he says. The vitriol was particularly pointed in his case, however. “The man’s ego and pretensions are staggering,” one of A Passion Play’s reviewers sniped. “He doesn’t write mere songs anymore, he writes Homeric legends. Except he’s not Homer.” Anderson professes equanimity about these rhetorical assaults. “Some of the worst reviews I’ve ever had I thought, well, yup, fair point,” he says. “That’s not a difficult thing for me. I’m not one of those people who finds it difficult to apologise or admit to making mistakes.” In 2011, he parted ways with Jethro Tull’s other longest-serving member, the guitarist Martin Barre. It seemed as though the band was at an end, until Anderson reactivated it without Barre later in the 2010s. Purists rue the absence of his former foil, but Anderson shrugs off their concerns. “It’s a very important relationship that we had for a very long time,” he says. “But Martin has been doing what I was telling him to do for I don’t know how long, trying to develop his own career and songwriting. It’s a thankless job spending your entire life being the equivalent of first violinist in a symphony orchestra. You may be a really important guy but you’re just playing what somebody else has written.”
Jethro Tull’s Anderson and Martin Barre on stage in 1985 © Brian Rasic/Getty Images He recognises that his voice isn’t what it was. A rationed high E is the uppermost note he can reach in gigs these days. “I get it most of the time!” But the questing spirit of Jethro Tull endures. “It would be a very dull world if people like me didn’t just push things a bit too far for our own good,” Anderson says. “If we appear bombastic and pompous and arrogant and self-indulgent, well — that’s OK, I don’t have a problem with that, just let me get on with it. I haven’t got long to go. We’re near the end!” ‘RökFlöte’ is released on April 21 by Inside Out Music. Jethro Tull play Shepherd’s Bush Empire in London on May 23, jethrotull.com
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Post by JTull 007 on Aug 14, 2023 0:48:59 GMT
LINK Jethro Tull's Ian Anderson: Masks are "difficult" and "claustrophobic," but needed on tour Anderson explains how many veteran music artists are not out of the woods when it comes to a Coronavirus disease that won't go away.
Goldmine Staff Aug 10, 2023
At 76, Jethro Tull's Ian Anderson does have his ailments, but he's probably healthier than most people his age. The vocalist/flautist is constantly recording and touring, and with the energy and passion of many half his age. But he is also aware that the Coronavirus can debilitate him; and even a mild bout of the virus could leave him on the sidelines for weeks, if not months. And then there's the case of canceled shows and other professional inconveniences.
In the Summer 2023 print issue of Goldmine (see below), Anderson not only discusses the intricacies of Jethro Tull's new album RökFlöte, but goes into how many veteran music artists are not out of the woods when it comes to a Coronavirus disease that won't go away. So, Anderson has to be prepared.
"I hate wearing a mask," he tells Goldmine. "I find it really difficult and it’s so claustrophobic and makes my skin itch. It’s a hateful thing to have to do, but I don’t see any time in the near future when I should be throwing my mask away."
Anderson is a realist. And he talks further about how this evolving virus can still be harmful to the music industry , especially when it comes to a touring act.
"If I get COVID, it could be two weeks, three weeks, or longer," Anderson admits.
"Concerts would have to be canceled without any remote chance of them being rescheduled because I have too many shows this year. If anything gets canceled, that’s it for at least a year to come. And that means not only putting the other guys in the band and crew out of work, but deeply upsetting people who bought tickets. Only at the end of last year did we pretty much manage to play all the rescheduled concerts from 2020 onwards. In fact, I think when we last played in Finland, it was the third rescheduling of the concerts.
The original ones were canceled in March of 2020 and rescheduled later in the year, rescheduled again for the beginning of the next year, rescheduled again, and then finally took place last year. The people have been holding onto the tickets since 2019. They got to see us play during the early part of last year. So I’m very mindful from personal experience. It’s a huge inconvenience and financial inconvenience for a lot of people of paying their money and then not getting a show." Jethro Tull fans should be more than happy that Anderson is taking so many precautions. It means that there's a stronger probability that Tull will be coming to a town near you in the not-too-distant future.
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Post by JTull 007 on Feb 18, 2024 16:02:05 GMT
LATEST NEWS JETHRO TULL's IAN ANDERSON To Guest On OPETH's Next Album Maybe they'll win a metal GRAMMY By Greg Kennelty LINK Opeth seems to be going further down the progressive rock rabbit hole, as Jethro Tull founder Ian Anderson has revealed he played flute on "three or four tracks" on their next record. Well, that or we're about to get some seriously death metal flute.
According to Anderson in an interview with the Mystery Tour radio show: "Well, from time to time I play on other people's records, if they're interesting to me. I just did — last week I played on three or four tracks from a prog metal band called [Opeth]."
And if you're thinking that might be a stretch, it's clearly been on Opeth mastermind Mikael Åkerfeldt's to-do list for a while. Blabbermouth points out that Åkerfeldt mentioned in a Prog interview that he originally asked Anderson to play on Heritage way back in 2011, but the two never got together.
"I did e-mail Ian Anderson but I never heard back from him," he said at the time. "Funnily enough, when I went down to Steven's [Wilson] place to mix the album, we're sitting on his couch and he says, 'Oh, I just got an e-mail from Ian Anderson,' and I was, like, 'What?!' And he just said, 'He just wants me to look into [remixing Jethro Tull's 1971 record] Aqualung. I'm really happy in retrospect that we have [Björn J:son Lindh] because it fits with the vibe of the record."
No word on when we can expect the new Opeth record. Outside of Anderson's appearance, it'll also be Opeth's first with drummer Waltteri Väyrynen, who replaced longtime drummer Martin Axenrot in 2022.
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Post by JTull 007 on Feb 27, 2024 2:19:56 GMT
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Post by rredmond on Mar 4, 2024 16:41:38 GMT
Hall of Fame call out is a good one!
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