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Post by maddogfagin on May 10, 2013 9:22:01 GMT
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Post by maddogfagin on May 18, 2013 9:19:14 GMT
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Post by JTull 007 on May 18, 2013 16:29:27 GMT
That review confirms it for me... I did see a Rabbit during the show in September 1999. The cell phone gag was nice too. ;D
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Post by maddogfagin on May 19, 2013 8:00:08 GMT
That review confirms it for me... I did see a Rabbit during the show in September 1999. The cell phone gag was nice too. ;D Oh yes, it wasn't your imagination. Six foot rabbits are the stuff of nightmares
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Post by JTull 007 on May 20, 2013 14:17:08 GMT
Oh yes, it wasn't your imagination. Six foot rabbits are the stuff of nightmares 'Pooka' - from old Celtic mythology - a fairy spirit in animal form - always very large. The pooka appears here and there, now and then, to this one and that one. A benign but mischievous creature. Very fond of rumpots, crackpots...and 'How are you, Mr. Wilson?' How are you, Mr. Wilson? Who in the encyclopedia wants to know?
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Post by maddogfagin on Sept 4, 2013 8:49:48 GMT
Amazing what you can find when you're having a tidy up A strong contingent from AND (Dave Rees, Martin Webb et al) along with the Collins brothers, Adrian Tyte, Garry Hurley, Dave hall and myself plus Michael Veith and other European friends. A great road trip to see the lads perform even if it was a bit rainy. From "The Ministry" 16/7/88 VfB Stadion (Waldstadion) Gießen, Germany Out In The Green Support: IQ, Foreigner, Ten Years After, and others. Cross-Eyed Mary, Nothing Is Easy, Thick As A Brick, Steel Monkey, Farm On The Freeway, A New Day Yesterday, Fat Man, Budapest, Pussy Willow/Pibroch (inst.), My God (w. flute solo, incl. Bourée), Jump Start, Too Old To Rock'N'Roll, Aqualung, Locomotive Breath/Black Sunday (inst)/Thick As A Brick (reprise)
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tullist
Master Craftsman
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Post by tullist on Sept 4, 2013 15:49:52 GMT
Likely sounding elitist but I sure would have wanted to know precisely when Tull was going on stage to completely avoid any chance of being exposed to any of those other acts, conceivably Ten Years After excluded...especially if it was August 1969. But I would need warning of when they are going to play I'd Love To Change The World so I can be well clear of the area. Looks nearly as torturous as the flute festival I saw Tull at in Chicago in 97, (being a free show, the single largest crowd I have ever seen at a Tull show, 100000 I am told, so far more than in any of the 72-9 years. Consisted of a few hours of largely new age flute stylings, with Dave Valentin excepted, not even any classical flute quartet type things. Maybe this exquisite boredom set the stage, but that 75 minute Tull performance ranks with any I have seen in the past 30 years for sheer release from that tedium. Beautiful night, I remember Ian coming storming out already playing for the opener of Song For Jeffrey. O man it was good. It was very very good. And that era of Starship. ACK! That must be after I recall Paul Kantner to have sued them for any use of the Jefferson part of the name. The We Built this City era starship, not the Blows Against The Empire one.
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Post by maddogfagin on Sept 4, 2013 16:00:37 GMT
Likely sounding elitist but I sure would have wanted to know precisely when Tull was going on stage to completely avoid any chance of being exposed to any of those other acts, conceivably Ten Years After excluded...especially if it was August 1969. But I would need warning of when they are going to play I'd Love To Change The World so I can be well clear of the area. Looks nearly as torturous as the flute festival I saw Tull at in Chicago in 97, (being a free show, the single largest crowd I have ever seen at a Tull show, 100000 I am told, so far more than in any of the 72-9 years. Consisted of a few hours of largely new age flute stylings, with Dave Valentin excepted, not even any classical flute quartet type things. Maybe this exquisite boredom set the stage, but that 75 minute Tull performance ranks with any I have seen in the past 30 years for sheer release from that tedium. Beautiful night, I remember Ian coming storming out already playing for the opener of Song For Jeffrey. O man it was good. It was very very good. And that era of Starship. ACK! That must be after I recall Paul Kantner to have sued them for any use of the Jefferson part of the name. The We Built this City era starship, not the Blows Against The Empire one. If memory serves me right, Ian Anderson and his chums were on last. Can't remember much about Starship so I may have been in the bar but I do remember the lass from T'Pau having a right old go at the audience for not paying attention to their set. Whether the mainly German audience knew exactly what she was saying is a mute point but I assume she was satisfied with the result. Think they may have got "bottled" at that point and possibly even booed off stage at the end of their set.
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Post by maddogfagin on Sept 6, 2013 8:09:48 GMT
Out In The Green boot cover and inlay
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Post by maddogfagin on Sept 13, 2013 13:38:02 GMT
According to The Ministry this was from 19 April 1970 19/4/70 Long Beach Arena Long Beach, Ca. USA This Is Jethro TullSold out show - audience: 13,000-15,000. Support: Eric Burdon (with War), Clouds. Nothing Is Easy, My God, To Cry You A Song, With You There To Help Me, Sossity: You're A Woman/Reasons For Waiting/Sossity, Dharma For One, We Used To Know
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Post by Cold Valhalla on Jul 3, 2014 22:31:27 GMT
9 January 1969 Jethro Tull was supporting act before Jimi Hendrix show at the concert house in Stockholm. I have always been jealous of a friend’s brother who was there and said to me that the Tull part was so much better then Hendrix. I found that an amateur photographer is selling nice pictures from the concert. His homepage is in Swedish, but the images are international www.gallerigullestad.se/Jethro_Tull_sv.html
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Post by steelmonkey on Jul 3, 2014 23:01:22 GMT
Wow...these might be the best pictures I have ever seen from this era.
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Post by nonrabbit on Jul 4, 2014 8:41:13 GMT
Wonderful pictures. Thanks for posting.
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Post by maddogfagin on Jul 4, 2014 9:06:50 GMT
9 January 1969 Jethro Tull was supporting act before Jimi Hendrix show at the concert house in Stockholm. I have always been jealous of a friend’s brother who was there and said to me that the Tull part was so much better then Hendrix. I found that an amateur photographer is selling nice pictures from the concert. His homepage is in Swedish, but the images are international www.gallerigullestad.se/Jethro_Tull_sv.html Thanks for the link Mr Valhalla. Wish I'd had a camera at the Star Club in Croydon.
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Deleted
Deleted Member
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Post by Deleted on Apr 30, 2017 14:54:39 GMT
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Post by JTull 007 on Apr 30, 2017 16:00:48 GMT
This would be the last tour with John Evan & David Palmer on keyboards and Barriemore Barlow on drums. The end of an era... Thanks for the very cool images that are bittersweet...
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Deleted
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Post by Deleted on May 3, 2017 21:06:08 GMT
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Post by nonrabbit on Dec 12, 2017 18:10:06 GMT
THE LABOR TEMPLE, MINNEAPOLISi66.images obliterated by tinypic/1zz3vk6.jpg[/IMG] Amazing what you stumble upon when looking for something else. A venue that's been around for a very, very long time - see this very detailed webpage with it's history. Scroll to 'Labor Temple Shows 1969' and what do you find...... A great pic of a young and earnest looking Ian with the promoter taken by a Mike Barich. i68.images obliterated by tinypic/1ieghu.jpg[/IMG] "In 1969 local promoter David Anthony started booking national psychedelic ( ?) acts, some of which were not all that well known yet and couldn’t fill one of the bigger halls." " Jethro Tull and Rotary Connection, February 9, 1969 Warren Walsh remembers:
As I recall it was another one of those nasty cold Minnesota nights. It was a Sunday night and there couldn’t have been more then a couple of hundred people there. Jethro Tull was just releasing their 1st album and nobody knew who they were [their first US stop]. We didn’t care much for the Rotary Connection but it beat sitting around on a Sunday evening. We sat on the floor about 10-20 feet from the low stage. Can’t remember the Rotary Connection but Jethro Tull took our heads off! During the break Ian Anderson just stepped down and mixed with the crowd. I remember him sharing some cigarettes with a few of us stand near the front."i65.images obliterated by tinypic/901tz4.jpg[/IMG]
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Post by maddogfagin on Sept 21, 2018 6:24:22 GMT
news.bbc.co.uk/local/suffolk/hi/people_and_places/arts_and_culture/newsid_8568000/8568327.stmReview: Jethro Tull in Ipswich on their 2010 world tourBy Angus Smith Resident of Kesgrave Opening with an acoustic Dun Ringill, leader Ian Anderson appeared alongside long-time cohort, guitarist Martin Barre, to serenade the crowd with a ditty about an Iron Age fort on the Isle of Skye. No pyrotechnics or lasers in a 'deafen and blind 'em' show opener here folks. This isn't Kiss or AC/DC - this is Jethro Tull! An unusual opening choice but then Jethro Tull has always been quirky and unusual. Anderson, once the wild-haired, bug-eyed minstrel famous for playing his flute on one leg, retains a real stage presence - skipping around and striking his poses. His witty and interesting tales between songs were as enjoyable as some of the music. The black bandana is now as iconic as his flute. We were treated to The Water Carrier, which is actually an Anderson solo song. It continued the acoustic, organic vibe, with a Zeppelin/Kashmir drive to it, complete with band introductions. It also gave us first glimpse of Anderson's trademark flute playing and also featured a bongo solo from drummer Doane Perry - I told you this band were quirky! Eurology was an instrumental which saw John O'Hara's accordian and Anderson's flute dally in a track which was saturated in a purely continental flavour. Bouree saw Tull demonstrate some intricate interplay creating a beautiful blend of folk and the original JS Bach melody held together by the impressive rhythm section of bassist David Goodier and Perry on the kit. Librarian with an axe Anderson took a break, allowing guitarist Martin Barre to take the limelight. Looking more like a librarian than a guitar hero, axeman Martin Barre lead the rest of the group through a jazz rock workout that reminded me of Joe Satriani. Don't be fooled by Barre's 'barnet' - this guy knows his way around a fretboard and his licks and riffs are what attract many of the hard rock aficionados to Tull, myself included. After all, this is the band who pipped the rifftastic Metallica for a Grammy in for best heavy metal performance in 1989. Do me a favour! Tull are as rock as candy floss, but their appeal to hard rockers is mainly due to Barre's guitar work and their Led Zeppelin- style folk rock. Anderson returned for a moody version of Budapest which was reminiscent of Dire Straits. Anderson's flute gave it that Magyar feel - a very stirring track. Anderson's vocals didn't carry such great power tonight - old age or a poor mix? It was probably a bit of both but Songs From The Wood sounded weak without its strong backing vocals which make it so interesting on record. Birthday Card For Christmas was as disappointing as the name suggests and if you were to receive one, while Fat Man showed Anderson's humorous non-pc lyrics. This is a band with a back catalogue of over 40 years so they are in a no-win situation when it comes to playing everyone's favourites although the omissions of Living In The Past and Minstrel In The Gallery were disappointing. Recent gigs I have been to of other classic rock bands have seen a mix of ages in the crowd - grandads, dads and grandchildren. Tonight though there were few signs of younger generations of Tull fans. The crowd was reminiscent of a CAMRA drinkers convention with receding hairlines and greying mullets which, while politely and ecstatically cheering and applauding between songs, never looked like really rocking out. Well, hardly surprising because Jethro Tull aren't that heavy or rocking. They are instead such a diverse band who can rock out when they so choose, but they have so many other textures and sounds and are grounded in traditional English folk music which I guess is all part of their charm and enduring success. I'd always thought of them as folk/prog rock hippies who had some good riffs such as Aqualung (which finished the main set) and I went away with my thoughts confirmed, but at the same time entertained. Encoring with Locomotive Breath, the band finished on a high and finally had the Regent in a standing ovation for this unique and quirky band. Jethro Tull were at the Ipswich Regent on 11 March 2010. This review was a voluntary contribution to the BBC website. If you're interesting in writing a review in return for free tickets to an event, write to us suffolk@bbc.co.uk here.
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Post by maddogfagin on Mar 22, 2020 7:29:48 GMT
www.nytimes.com/The Jethro Tull Sound Fills the GardenDec. 10, 1972About the Archive This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.Jethro Tull, for those who aren't up on such things, is really Ian Anderson. The original Jethro Tull was an 18th‐century English agronomist after whom Ian Anderson named his rock group, Mr. Anderson writes most of the quintet's songs, colors its sound with his flute playing, unashamedly steals the spot light with his antics and possesses enough magnetism to attract some 20,000 Tullophiles to Madison Square Garden on Friday night. Mr. Anderson's theatrics included a Dickensian costume with a codpiece added for self‐parodistic sex appeal and a flailing energy punctuated by pixielike poses. He sang well, in a sweetly folksy way, played his flute with skill (and invention, in a duet with his tape ‐ delayed self) and dabbled at acoustic guitar and tambourine. The arrangements were deft and meticulously rehearsed. Mr. Anderson over lays a relatively safe brand of rock with bits and pieces of folk, classical and miscellaneous pop, then tries to bind everything together with skits and long‐range poetic forms. The backup musicians —two electric guitarists, a pianist‐organist and a drum mer—seemed accomplished, even if their interminable solos might well have been dispensed with, or at least curtailed. And the crowd seemed to love it, although the music itself never sounded more than ordinary, for all the gimmicks, and the smoothness of the pace descended ultimately to slickness. All rock groups create the illusion of freedom through discipline. But Mr. Anderson's engaging professionalism is too calculating to be free and too derivative in detail to reach much below the surface. The show opened with Roxy Music, another British band that attempts to fuse disparate elements into an original whole. For their New York debut they were given only 25 minutes, as against Tull's 130. A first impression of Roxy Music suggested a blend of neo‐fifties rock and synthesized weirdness, compromised by an uncertain, pretentious stage image. Mr. Anderson's routines work at least to the extent that they evoke an audience response foxy Music's timid choreography, doggedly executed in the face of the crowd's benign indifference, could look only embarrassing. link
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Post by maddogfagin on May 31, 2021 6:20:46 GMT
rockshowcritique.com/2017/08/tull/Jethro Tull By Ian Anderson Gives Fans A Glimpse Into The PastPosted on August 23, 2017 by Joseph Suto Jethro Tull By Ian Anderson Artpark Outdoor Stage Lewiston, NY Tuesday August 22, 2017 Review/Photos: Joseph Suto One of the highly anticipated shows on Artpark’s 2017 schedule was the Jethro Tull by Ian Anderson show. It had been three years since Anderson’s last area appearance out at UB’s Center For The Arts. So when many fans pulled into the parking lot they were met by a steady downpour that lasted about an hour. As the scheduled 7:15 start time was drawing near the rain subsided just in time. At one point during the show Anderson noted the beautiful rainbow that appeared on the horizon. The show featured two (60 minute) sets with a brief intermission between. Anderson was backed by David Goodier (bass), John O’Hara (keyboards), Florian Opahle (guitar) and Scott Hammond (drums). The affair had some flair and seemed to sound fresh and invigorating at. After all its not every day fans get a unique experience like this. Anderson now 70, still pranced and danced about the stage almost like Peter Pan fluttering in the air playing his flute. Many gestures with his hands and facial expressions showed the crowd he was having a blast playing the songs to his dedicated fanbase. The show was one of the best selling shows of the 2017 Artpark season. All one needed to do was watch Anderson perform gems like “Thick As A Brick” or “Living In The Past to see why. On “Too Old To Rock ‘n’ Roll, Too Young To Die”, images of a much younger Anderson were depicted on the big video screen. Probably the biggest letdown of the night occurred during “Aqualung” arguably the best known song from Anderson’s old band. While Anderson’s voice is not quite what it once was, having a pre recorded vocal track of singer Ryan O’ Donnell while he was shown on a video screen is not exactly my cup of tea. Perhaps if one of the other band members sang it live it would have gone over better. Granted the rest of the show went over well. It was good to see Anderson perform in concert as this was my first time seeing the man. My only other disappointment was the lack of a few more gems from the Tull catalog. Songs such as “Teacher” and “Skating Away On The Thin Ice Of A New Day” would have sounded so good in the great outdoor setting at Artpark. Perhaps another time. Set List Set One Living in the Past (Jethro Tull song) Nothing Is Easy (Jethro Tull Song) Heavy Horses (Jethro Tull Song) Thick as a Brick (Jethro Tull Song) Banker Bets, Banker Wins Bourrée (Johann Sebastian Bach Cover) Farm on the Freeway (Jethro Tull Song) Too Old to Rock ‘n’ Roll, Too Young To Die (Jethro Tull Song) Songs From the Wood (Jethro Tull Song) Set Two Sweet Dream (Jethro Tull Song) Pastime With Good Company (King Henry Vlll Cover) Fruits of Frankenfield Dharma for One (Jethro Tull Song) A New Day Yesterday (Jethro Tull Song) Toccata and Fugue in D Minor (Johann Sebastian Bach Cover) My God (Jethro Tull Song) Aqualung (Jethro Tull Song) Encore Locomotive Breath (Jethro Tull Song)
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Post by maddogfagin on Aug 22, 2021 6:16:00 GMT
patch.com/new-york/portchester/legendary-port-chester-jethro-tull-apr-27-1971Legendary Port Chester: Jethro Tull, Apr. 27, 1971Well known band of the past half-century debuts tracks off well-known album at Port Chester Capitol Theatre. Christine Loughran, Neighbor Posted Fri, Sep 3, 2010 at 8:21 pm ET When Ian Anderson and the rest of the crew of Jethro Tull hit the stage of the Capitol Theatre, they were amidst a transitional period in their career and overall sound—and one they were able to quickly bounce back from. Just a few months before the concert on April 27,th first bassist Glenn McCornick was kicked to the curb for reasons unknown. This was surely quite a blow for the legendary quartet, who are known for their progressive, folk, and hard rock influences. As the musician had been a part of Jethro since its conception in 1968, it would seem he would be a tough act to follow. The band responded by swiftly replacing McCornick with an old band-mate of Evan Anderson's—Jeffrey Hammond. (Hammond was a part of the 1962 group, Blades, of which Ian and drummer John Evans were a part) This particular evening in Westchester was also known to die-hard fans as the "Late Show," a follow up to what is remembered as the "Early Show" many years prior when the band performed at the Capitol on April 29, 1970. The newly tempered legends proudly debuted new tracks off Aqualung—one of their most successful albums of all time—for the first few numbers as a treat for the crowds of appreciative fans in attendance. Cross-Eyed Mary, (with a drum solo from John Evans,) Aqualung, the title number off the new record, Wind Up (evolving into a guitar solo) followed by a transition into Locomotive Breath, and later a reprise of Wind Up again to close were all included in the new set list of crowd-pleasers. Looking back at those recording and release dates, it is impressive how quickly Tull was able to pull together some drag-out hits in those few months. Hammond, a new member at the time, began recording the new album very soon after McCornick was let go (in December 1970). They churned out some solid hits in just a couple of months, setting release dates in both the UK (on March 3, 1971,) and later (May 1970) in the United States, all within a short time-span. Old favorites were not forgotten that night, with performances of "Nothing is Easy", "With You There to Help Me", "My God" (with a flute solo by Anderson), and "Hard-Headed English General." Visitors from around the county and elsewhere were undoubtedly blown away by this renowned concert of early seventies origin back on the concert circuit.
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Post by maddogfagin on Nov 11, 2021 7:18:35 GMT
jambands.com/reviews/shows/2018/06/23/ian-anderson-celebrates-jethro-tull-s-50th-anniversary-in-la/Published: 2018/06/23by Larson Sutton Ian Anderson Celebrates Jethro Tull’s 50th Anniversary in LA50 years of Jethro Tull. “How did that happen?” founding singer, songwriter, harmonica player, and flautist extraordinaire Ian Anderson rhetorically asked the Greek’s capacity crowd. Certainly, it happened on the strength of the progressive rock champions’ iconic stable of FM classics, unique instrumentation, and elevated sense of musicianship, represented here by Anderson’s solo band, in as much a comprehensive celebration of five decades of Tull as possible. Sure, an inclusion of longtime guitarist Martin Barre—a former member who’s still actively touring the catalog—would’ve thrilled the die-hards, and, really, an appearance by any of the 36 other musicians that have spent time in the band since 1968 could’ve been special, but that misses the point: This was not a Jethro Tull reunion. This was Ian Anderson honoring the group’s 50th anniversary. It’s not a semantic distinction, though Anderson and Tull have been for years confused or conflated as one and the same. This is Anderson and his solo touring unit dedicating two sets solely to the music he created and performed with Jethro Tull. And, it wasn’t just the music. The entire experience, from pre-show videos tracing the band’s chronology and Tull shirts and paraphernalia dominating the merch stand to taped interludes between songs featuring recollections, well-wishes, and introductions running the gamut of members and admirers- from Clive Bunker and Joe Bonamassa to Tony Iomi and Slash- was a grand thank-you to the influential group. Chief among those and their gratitude is Anderson, himself, who with typical grace and humor prefaced each song with an informing tale or tribute. It cannot be ignored that his instantly recognizable voice has been re-invented as a breathy, behind-the-beat interpretation; one that is less cutting and powerful than of his youth, but affecting still in its honesty. Granted, there was the rapidity of verses in the penultimate “Aqualung” that necessitated some assistance from the video board, but mostly it was Anderson tackling even the trickiest vocal turns with determination. As for the flute, perhaps as much if not more identified with Anderson as his voice, it floated and darted as wistfully and sharply as ever. His trademark playing stance, up on one leg, came early, on the third entry, “A Song for Jeffrey,” after an opening duo of “My Sunday Feeling” and “Love Story.” The jazz, blues, and classical signposts of the budding repertoire were all there on “Dharma for One” and “A New Day Yesterday,” then transitioned to the hybridized style that became their signature on a set-closing “Cross-Eyed Mary.” The second half rippled through the title tracks of their ‘70s album zenith: “Thick as a Brick,” “A Passion Play,” “Songs From the Wood,” “Heavy Horses,” and, of course, the irony of “Too Old to Rock ‘n’ Roll, Too Young to Die.” Only “Farm on the Freeway” documented the latter course of the band, when they became an unintended punchline after winning a Heavy Metal Grammy; mostly every song was a favorite of the heyday, with even more left on the cupboard shelf. After the crescendo of the “Locomotive Breath” encore rang out, Anderson and his first-rate band took a final bow, accepting the lasting applause for this evening of celebrating Jethro Tull and all that came before. To answer Anderson’s question, performing these indelible songs with dignity and flair is how 50 years happens.
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