kc
Prentice Jack
Posts: 24
|
Post by kc on Jun 9, 2011 22:00:47 GMT
Agree with the improved vocals and band energy. Great night at Red Rocks. The set list: Thick as a brick Songs from the wood Farm on the freeway Bouree Aqualung Cross eyed Mary Cheap day return Mother goose Wondering aloud Up to me My god Jesus saves Slipstream Wind up Locomotive breath
|
|
|
Post by nonrabbit on Jun 10, 2011 5:35:33 GMT
Thank you for the reviews. Always a treat to read the positive. Fully concur with the above TT. Thanks to all the Forum members for their reviews of concerts, past, present and future.
Cheers MD and I fully concur too *thumbs up*
|
|
|
Post by maddogfagin on Jun 10, 2011 7:54:55 GMT
Agree with the improved vocals and band energy. Great night at Red Rocks. The set list: Thick as a brick Songs from the wood Farm on the freeway Bouree Aqualung Cross eyed Mary Cheap day return Mother goose Wondering aloud Up to me My god Jesus saves Slipstream Wind up Locomotive breath Looking forward to hearing this as and when it appears on d**e or any other site. Glad you enjoyed the evening.
|
|
|
Post by maddogfagin on Jun 10, 2011 7:56:34 GMT
My own review is a bit more lengthy, and it looks like a bit less thorough: Good morning from Lakewood (between Denver and Red Rocks Amphitheater @ Morrison). kansas were pretty good; JETHRO TULL were Bloody Magnificent! (Do they really belong in the same sentence?) i read somewhere that at a previous tour a few years ago Ian was in fine voice. Tonight, his voice was a lot smoother than i remember him sounding at the Broadsword and the Beast concert in Boulder or the Crest of a Knave concert in Denver. One of my show mates tonight commented that the whole band sounded much tighter than they had been when he had seen them at The Rainbow Music Hall (i remember that as the concert i missed; i was all set to go - thinking it was such a small venue i could buy a ticket at the door - then i got distracted by some small piece of business {sigh}. That was sometime in the '0-s). i am so happy that, 2 months from 64, our hero is really showing healthy once again. Let's all hope that he's feeling as well as he looks. (i do go on, don't i?) The weather held for them (and us), too; with a little cloud cover and strong breeze early in the evening. But when our Boys emerged, the sky cleared and the breeze calmed. kansas were on from 7:30 (MDT; is Britain in summertime yet? 2:30 a. m. for them, if so; 1:30 if not.) for about 75 minutes. The sun just began to dip behind the hills (behind the house) as Jethro Tull ambled out at about 9:00 (3a/4a) and launched into 100 minutes of pure bliss. They played (in no particular order) Thick, Bouree, Songs, and several other gems of the early years (before "A"). Did they play the entire Aqualung album? i just spent some time going through the track listing; yes, they did, although not in album order. Instead of ending with Wind Up, They ended with Locomotive Breath, including an additional riff at the end. So, Before Aqualung, they played an additional 57 minutes of material. Much to my chagrin, i'm failing to remember every number. Ah, well - what a night! Excellent - thanks for posting.
|
|
|
Post by bunkerfan on Jun 10, 2011 8:45:34 GMT
For those of us that couldn't be at Red Rocks here's 'My God'. Boy! Jethro Tull sound good.
Thanks to tdyes for uploading.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 10, 2011 11:54:00 GMT
www.signonsandiego.com/news/2011/jun/09/jethro-tulls-aqualung-anniversary-tour-here-sunday/Jethro Tull's "Aqualung" anniversary tour here Sunday English rock band still active, with one original member, after 43 years By George Varga 7:16 p.m., June 9, 2011 When: 8 p.m. Sunday, June 12 Where: Open Sky Theater, Harrah’s Rincon Casino, 777 Harrah’s Rincon Way, Valley Center Tickets: $40-$125 (plus service charges) Phone: (800) 745-3000 Ian Anderson, the long-serving leader of England’s Jethro Tull, has never claimed to be clairvoyant. But with each passing year, the title of Tull’s 1976 album, “Too Old To Rock ’n’ Roll, Too Young To Die,” seems increasingly prescient for this pioneering band, which counts Nick Cave, Dave Matthews and the members of indie-rock favorites Midlake and The Decemberists among its biggest fans. “I thought ‘Too Old’ would come back to haunt me three months after the record was released!” Anderson told me in a 1988 San Diego Union interview. “Because, yes, it was very openly a confrontation with (growing old), not in a biographical sense, but in a sense to do with style and fashion. … Jethro Tull was like the Muppets; it was just always there, to a certain generation of people. We are the teddy bear they didn’t throw away.” Like the Muppets, if in less animated form, Tull is still active today, 43 years after the band was formed in 1968 as a blues group. At its best, in the late 1960s and early ’70s, Tull created a fresh hybrid of rock, blues, jazz, traditional English folk and classical. Lad singer Anderson’s animated flute playing, accomplished songwriting and charismatic stage presence helped make Tull one of the most distinctive bands in rock. At its worst, the group’s work was pompous, self-indulgent and unable to overcome its worst conceits. “We’re low art,” Anderson said in a 1996 Night&Day interview. “At the same time, we’re definitely not a lounge band.” The sole original member of Tull, which performs Sunday at the 21-and-up Open Sky Theater at Harrah’s Rincon Casino, Anderson is now 62. His band’s two newest additions — bassist Dave Goodier and keyboardist John O’Hara (the junior member at 48) — both joined in 2006, after touring in Anderson’s solo band. Tull is now embarked on its 40th-anniversary “Aqualung” tour, in honor of the classic 1971 album that still ranks as one of the band’s finest. Coming soon: A newly remixed version of “Aqualung,” with Porcupine Tree guitarist Steven Wilson doing the audio engineering honors. Does the band live up — or down — to the title of “Too Old to Rock ’n’ Roll, Too Young To Die?” We’ll find out Sunday,when the band performs "Aqualung" in its entirety, along with various other Tull songs from the past and present.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 10, 2011 16:56:35 GMT
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 10, 2011 17:00:02 GMT
blogs.laweekly.com/westcoastsound/2011/06/exclusive_interview_ian_anders.phpEXCLUSIVE Interview: Ian Anderson of Jethro Tull Talks About Aqualung, His Duet with an Astronaut and Why He Doesn't Attend Concerts By Jena Ardell, Fri., Jun. 10 2011 at 7:47 AM Categories: Interview In 1967, Ian Anderson traded a Fender Stratocaster that previously belonged to Lemmy from Motorhead for a flute, since he felt he would never be as good of a guitar player as Eric Clapton. The rest is history. We caught up with Anderson to chat about the album Aqualung (he does not like the cover art to Aqualung, calling it "messy," and did not appreciate how the "dribbly-nosed voyeur" seemed to resemble him), where he likes to go in L.A., and why Prince baffles him. L.A. Weekly: When you were writing songs for Aqualung, was your goal to inspire change or were you just observing and recording the attitudes of people around you? Ian Anderson: Well, I certainly never set out to try and inspire or coerce change in other people. All you do is you reflect what you see and what you interpret from the things around you. I'm very much an observer and a conduit of thoughts and ideas. I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me. Whether they are whimsical and musing moments like songs "Mother Goose or "Up to Me" or whether they are more serious or angry topics like "My God" or "Aqualung." Do you feel that society still views the homeless or unfortunate in the same negative light as they did in the 1970s or do you think we've progressed past that? I think we always view people who make us feel uncomfortable and appear to intrude on our middle-class cozy space, we view them with, if not hostility, at least suspicion, discomfort, embarrassment. We should recognize that we're a little bit embarrassed about other people's misfortune and try to come to terms with that ourselves, whether it's by showing some act of kindness or some act of giving in the case of homeless people. But I still find it awkward to approach a homeless person and give them some money. It's difficult. Sitting on my desk now is a begging letter from one of Britain's better-known charities for the homeless. I'm constantly reminded when I sing the song "Aqualung" onstage every night that these things don't go away. The plight of the homeless in your country and in mine is just as prevalent and upsetting as it was 40 years ago when I wrote that song. You've said what you do for a living doesn't appeal to you and that you don't like loud music so you would never be in your own audience--does that mean you don't attend concerts of other bands? (Laughs) It does mean that. I don't like to go where there is a lot of noise of any sort. I've always been fond of acoustic music. When I was a teenager, I was listening to blues and jazz ... and I was never really a fan of pop music and electric guitars. After two hours onstage, making rather a lot of noise, I'm quite happy to spend the rest of the 22 hours of each day in quietness and don't really relish the thought of going to a concert to watch anybody else perform. So I'm not a great listener of music at all. I read books and I look at paintings more than I listen to music. I think the rest of the day I value because I don't have the music, which it becomes seductive and exciting to get back on the stage and start playing music again. The last thing I would want to do is to go and listen to other people play music. Reportedly Prince famously, after his concerts, would go off to some club and get up onstage and jam at the club and stay up till all hours doing yet more music. I find that quite hard to imagine how someone could devote so many hours in their day to doing something I feel as best concentrated and focused on in a finite period. The best things take a couple of hours--some of the best things can be done in even less time. At this point in your career, I imagine you have accomplished most, if not all, of your goals. So what drives or motivates you to continue making music? Just in the next few days alone, I have three different kinds of concerts that I am playing and that in itself makes it engaging and interesting because you have to change your approach to making the music to some degree to accommodate playing with some musicians I have never played before in the Czech Republic to playing in a multi-act festival, which I am not very good at and don't really enjoy, but I have to make the best of that situation with no sound check and somewhat difficult and tense circumstances. Then I have to endure a long flight across the Atlantic... to land in mile-high Denver to play a concert in Red Rocks Arena in an altitude which makes things physically demanding and demanding as a flute player because in the relatively thin and dry air of the mountains above Denver, it's actually quite hard to play the flute. Every day is a bit different. I am playing in the mountains of Colorado one day and then flying down to Phoenix, Arizona in the desert--these are all a change of environment, and if we manage to find a Red Lobster on the way, or a Denny's, than that will just set things off a tree. How many flutes do you currently own? Are they something you collect over the years or do you buy and sell them as needed? I'm not a collector of them. I probably have more than I need, but I enjoy playing them all from time to time and the two that I take with me on any one tour aren't necessarily always the same two. I have many more guitars than I have flutes. One of my flutes I don't have at the moment because it's sitting in Houston awaiting shipment back to me because it's been aboard on the international space station for a few months and it recently arrived home after a few months, orbiting the earth every 90 minutes. That's interesting. How did that opportunity come about? Well, astronauts are not wacky people from outer space. Catherine Coleman of the U.S. Air Force, an astronaut who has been up there for the last six months, is an amateur flute player and she took one of my flutes up there with her and we did a little duet from space. I was in Perm in Russia on the 50th anniversary of the first man-flight in space by Yuri Gagarin and Catherine was aboard the space station. [You can watch the duet on youtube] Where do you like to go when you're in Los Angeles--are there any places you're looking forward to visiting? The Beverly probably is one that appeals (laughs) since it is usually a restful and reasonable respite; and my wife likes to have a walk around there and we sit and have a Starbucks. In days gone by, I occasionally went to The Comedy Store on Sunset, which was the frequent home of a comedian called Barry Diamond, who is a favorite of mine.
I'm not a person who actually goes out very often. I try to get back to my hotel and go to sleep as soon as possible because I usually have to leave early the next day. When I am playing in Los Angeles at The Greek Theatre [on Saturday], it is simply to arrive on a flight, drive to The Greek; do a sound check; play a show; jump in the rental car and head off to the next [show] toward the San Diego area. I'll just be there for the few hours it takes to do a sound check and play a show and get the hell out of town!
What is your secret for being able to remain in the music industry for over 40 years and front a band that is still touring?
I don't think there's any secret to it at all. I think most of the people who do what I do don't really want to give it up. It's something that is a pretty good job if you can get it and, goodness knows, it's pretty hard to get that job these days. Most people would love to do what I do ... and most of us who got that job don't really want to give it up and pass it on to anybody else (laughs). So we're rather protective and jealous of our status of professional, working musicians and I don't think any time goes by when you're not reminded of how fortunate that you are to be able to do that on a professional basis.
There will come a time when I can't do it anymore, after which, I may do it on an amateur basis for a little while until my physical and mental systems shut down and it's time to hit the power-off button in a clinic in Switzerland, or whatever happens to me.
But until then, the excitement, the focus, the challenge of doing concerts, both physically and mentally, is always very engaging and as long as you're capable of meeting that challenge and finding that excitement and passion, you keep playing.
Ian Anderson will be performing with Jethro Tull this Saturday, June 11, at The Greek Theatre in Hollywood. To mark the album "Aqualung's" 40th anniversary, the group will be performing the album in its entirety, plus other favorites. Tickets are still available, so grab 'em while you still can!
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 11, 2011 17:52:56 GMT
www.newser.com/story/120426/jethro-tulls-ian-anderson-classic-album-aqualung-flawed.htmlJethro Tull Frontman: Aqualung Flawed Band takes classic album on 40th anniversary 15-city tour By Matt Cantor, Newser Staff Posted Jun 11, 2011 11:34 AM CDT Newser) – Jethro Tull’s 1971 album Aqualung may be a certified classic, but the band’s frontman calls it flawed. “It wasn’t a great sounding album,” Ian Anderson tells Bloomberg. The church-turned-studio where it was recorded was “big, echoey, daunting and rather dark,” he notes. “It had all the ghosts of its past, and plenty of technical problems. At the end of the sessions, I wasn’t sure what we’d got.” Still, the album sold 7 million copies, and the British band began a 15-city tour on Wednesday to celebrate its 40th anniversary. The band will play the full album—being re-released as a remixed edition—during every one of the tour’s shows. But if you go, don’t drown out the band with your cheers. "It’s particularly disheartening," Anderson says, "when I’m trying to play the intro to 'My God' and someone is hooting over something that is, to me, a very important part of the song," he says. "It’s not a football match. And if that sounds a bit snobbish, then tough."
|
|
|
Post by snaffler on Jun 12, 2011 9:44:32 GMT
i've heard a recording of the red rocks show and the band sound really great, whats more the recording quality is EXCELLENT! the only thing which spoils it is the constant chatter of audience members, something which i've read really has peed off the old boy for many years. last year i saw JT in liverpool and a group of women were chattering, spoiling the who thing for everyone else! so i got them all ejected! ha ha! i cant wait for the solo tour over here in the uk in september
|
|
|
Post by maxquad on Jun 12, 2011 19:16:08 GMT
max here, I know you have all been waiting in eager anticipation for me to post some vids of Red Rocks, so here you go. A link to my first youtube upload, easiest way i know how to post here but I know in doing so I will reveal another of my alter-egos (along with that of Ronnie Pilgrim, Jeffrey HH, and now some guy named tomfoolish or whatever...) Anyway, after 4 days of reflection and the fact that I'm still feeling the afterglow from the concert last week, I will try to temper the slight dissapointment I may have expressed in my first review about the length of the show by placing personal Tull concert #26 (#27 for seeing Mr. A, I caught the rubbing elbows tour in 2003) up rather high on my list, definitely in the top 10. I think the fact that I was able get a pocket camera in that i bought specifically for this event and capture both video and still and relive some of the songs (over and over...) has something to do with that, but they really did sound great on the Rocks last Wednesday night. And there was no mention of the "riot" in '71. Since I didn't realize that until afterwards also shows how much the music and not the event is what JT is really about. So here you go Tull friends, enjoy my video captures. I have posted 4 songs so far, yet to upload: Aqualung and Loco Breath. On those 2 the cams battery was running down anf the autofocus struggled, but I'm sure you'll agree my little 100 buck pocket cam did pretty good with the audio and got some decent "footage" of the band from my 8th row seat! (And yes, you'll hear some crowd noise. I agree wholeheartedly with snaffler, it is also a pet peeve of mine. Outdoor shows usually are worse, I will expess my opinion of that in future posts maybe. Perhaps I'll start a thread on it...) www.youtube.com/watch?v=W_ExyR7Dndg&feature=share
|
|
|
Post by bunkerfan on Jun 12, 2011 19:30:48 GMT
i've heard a recording of the red rocks show and the band sound really great, whats more the recording quality is EXCELLENT! the only thing which spoils it is the constant chatter of audience members, something which i've read really has peed off the old boy for many years. last year i saw JT in liverpool and a group of women were chattering, spoiling the who thing for everyone else! so i got them all ejected! ha ha! i cant wait for the solo tour over here in the uk in september It's always amazed me why people pay good money to see a band like Tull and talk, shout or scream during the performance instead of listening to the great music on offer. Then again I am a bit of a Victor Meldrew
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 13, 2011 1:57:33 GMT
www.ocregister.com/entertainment/tull-304168-jethro-aqualung.htmlJethro Tull shuffles up 'Aqualung' at the GreekBy STEVE FRYER THE ORANGE COUNTY REGISTER Jethro Tull’s performance Saturday at the Greek Theatre, just two nights ahead of a stop at the much smaller City National Grove of Anaheim, answered one question and posed another. Ian Anderson’s latest quintet operating under the Tull name is a good one, still boasting Martin Barre on guitar (since 1969) and boasting the ability to transition easily and effectively from riff rock to Celtic folk. That answered the “can they still cut it after all these years” question. This Tull tour is advertised as a 40th anniversary celebration of the group’s most popular album, the one that really cemented its stardom and is among the better albums in the classic rock genre, Aqualung. But anyone who attended Saturday’s show expecting to witness that 1971 staple played its entirety, track by track, might have been disappointed. While Aqualung’s songs were performed -- almost all of them, anyway -- they were curiously placed here and there across the menu of a 16-song, two-set show, except for one four-song string toward the end of the first half. Thus comes the question: Why not do a proper re-creation of Aqualung? That full approach has worked for Cheap Trick, Steely Dan, ex-Pink Floyd leader Roger Waters and plenty others in recent years. Why not Tull? [More...] Anderson in interviews refutes the notion that Aqualung is a concept album, insisting instead that it is just a collection of songs, of which three or four are thematically similar. Evidence to the contrary is there -- the album’s vinyl was divided into “Aqualung” and “My God” sides on the packaging, as if they were two acts of one play. Plus, the discography on the band’s official website places Aqualung next to Thick as a Brick (1972) and A Passion Play (1973) under the heading Prog/Art/Concept Rock, although Concept is in quotation marks. A Jethro Tull show draws plenty of veteran fans, people who have seen the band multiple times, perhaps as far back as the early '70s. These are people who reflexively expect the final chord of the song “Aqualung,” which opens the recording, to be followed immediately by the yelled “Mary!” that precedes the album’s second song, “Cross-Eyed Mary.” These are the people who might have left the Greek disappointed. “Cross-Eyed Mary” was played, as were all other Aqualung songs except for one: “Slipstream,” which, granted, is the disc’s shortest track, at 1:13. So, sure, this was an Aqualung celebration of sorts. Anderson’s flute playing was, as usual, the highlight of the show. His voice long ago became incapable of hitting the high notes of his own compositions, yet the 63-year-old Englishman has figured out a way to somewhat meet those notes halfway. The band -- including bassist David Goodier, underrated drummer Doane Perry and keyboardist/accordionist John O’Hara -- was tight and terrific. Any Tull fans considering getting tickets for Monday’s show at the Grove shouldn't hesitate. They opened, by the way, with the condensed version of “Thick as a Brick,” long a familiar part of Tull performances; ran through Aqualung’s “Cheap Day Return”, “Mother Goose,” “Wond’ring Aloud” and “Up to Me” in succession, just like the album; and “Budapest,” from 1987’s Crest of a Knave, was once again given centerpiece treatment with a long rendition, appropriate for what is one of the group’s better live songs. Jethro Tull's Aqualung 40th Anniversary Tour plays again Monday night at 8:30 at City National Grove of Anaheim, 2200 E. Katella Ave. Tickets are $79.50-$109.50. 714-712-2700. ticketmaster.com. Setlist: Jethro Tull at the Greek Theatre, June 11, 2011 First set: Thick as a Brick / Songs from the Wood / Farm on the Freeway / Cheap Day Return / Mother Goose / Wond’ring Aloud / Up to Me / Bouree / Cross-Eyed Mary
Second set: Aqualung / My God / Hymn 43 / Budapest
Encore: Wind Up / Locomotive Breath / Teacher
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 13, 2011 2:26:01 GMT
|
|
|
Post by maddogfagin on Jun 13, 2011 9:05:25 GMT
i've heard a recording of the red rocks show and the band sound really great, whats more the recording quality is EXCELLENT! the only thing which spoils it is the constant chatter of audience members, something which i've read really has peed off the old boy for many years. last year i saw JT in liverpool and a group of women were chattering, spoiling the who thing for everyone else! so i got them all ejected! ha ha! i cant wait for the solo tour over here in the uk in september Listening to Red Rocks now and Phoenix later today. Both sound rather good. If anyone wants the links, contact me by PM
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 13, 2011 12:03:10 GMT
|
|
|
Post by salamander on Jun 13, 2011 16:10:57 GMT
Well...Tull at the Greek Theater...Amazing!!! The theater appeared to be sold out. We had seats in the orchestra pit right in front of Martin. Nice! Started off with Thick As A Brick. The music was overpowering Ian's voice at first but then he came through beautifully. SFTW was nice. Ian' voice was a little shaky on the high notes, but, oh well. I liked it. Next was Farm on the Freeway. I love this song and they did it proud. Cheap Day Return, Mother Goose, Wond'ring Aloud, and Up To Me next. Doane came down to the front with his little bongos. (I think this tickles Ian; Big boy Doane with his little drums.) Next was the "$h1t coctail lounge jazzy" Bouree. I don't care what anyone says, I love that one. $h1tty or not. Cross Eyed Mary finished up the first half of the show. After intermission, they came roaring back with an awesome rendition of Aqualung. My God was exquisite!!! I love how Hymn 43 starts out withp the Celtic feel then really started rocking! Budapest...perfect. Played in its full splendor, it was wonderful. Wind Up always gives me goose bumps! Love it. Last was Locomotive Breath, which really had the crowd dancing in the aisles. A nice surprise was a little bit of instrumental Teacher thrown in for good measure. All in all, I give it 2 very enthusiastic thumbs up! We met BlueHare, her sister and friend before the show for a bite to eat. That was great fun! So Bernie, be prepared to have your socks knocked off in Saratoga!!!
|
|
|
Post by maddogfagin on Jun 14, 2011 8:52:05 GMT
Well...Tull at the Greek Theater...Amazing!!! The theater appeared to be sold out. We had seats in the orchestra pit right in front of Martin. Nice! Started off with Thick As A Brick. The music was overpowering Ian's voice at first but then he came through beautifully. SFTW was nice. Ian' voice was a little shaky on the high notes, but, oh well. I liked it. Next was Farm on the Freeway. I love this song and they did it proud. Cheap Day Return, Mother Goose, Wond'ring Aloud, and Up To Me next. Doane came down to the front with his little bongos. (I think this tickles Ian; Big boy Doane with his little drums.) Next was the "$h1t coctail lounge jazzy" Bouree. I don't care what anyone says, I love that one. $h1tty or not. Cross Eyed Mary finished up the first half of the show. After intermission, they came roaring back with an awesome rendition of Aqualung. My God was exquisite!!! I love how Hymn 43 starts out withp the Celtic feel then really started rocking! Budapest...perfect. Played in its full splendor, it was wonderful. Wind Up always gives me goose bumps! Love it. Last was Locomotive Breath, which really had the crowd dancing in the aisles. A nice surprise was a little bit of instrumental Teacher thrown in for good measure. All in all, I give it 2 very enthusiastic thumbs up! We met BlueHare, her sister and friend before the show for a bite to eat. That was great fun! So Bernie, be prepared to have your socks knocked off in Saratoga!!! Thanks for the review Salamander. Reckon Bernie's in for a great concert. Interesting how the set list changed between Red Rocks and Phoenix Red Rocks: Thick as a Brick Songs from the Wood Farm on the Freeway Bouree Aqualung Cross-Eyed Mary Cheap Day Return Mother Goose Wond'ring Aloud Up to Me My God Hymn 43 Slipstream Wind-Up Locomotive Breath with Teacher Phoenix: Thick as a Brick Songs from the Woods Farm on the Freeway Cheap Day Return Mother Goose Wondr'ing Aloud Up To Me Bouree Cross-Eyed Mary Aqualung Slipstream My God Hymn 43 Budapest Wind-Up Locomotive Breath & Teacher
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 14, 2011 13:31:02 GMT
Last Night Live Review: We Saw Your Parents Getting Lit at the Jethro Tull Concert By Jena Ardell, Mon., Jun. 13 2011 at 11:47 AM blogs.laweekly.com/westcoastsound/2011/06/we_saw_your_parents_getting_li.phpWe're pretty sure we were getting a second-hand high from your parents Saturday night during the Jethro Tull concert at the Greek Theatre. The audience was an eclectic mix of middle-aged fans, married couples, thirty-somethings and a few awesome dads who brought their sons to the show. The tranquil, yet packed, Greek Theatre proved to be the perfect, whimsical setting for Tull to perform their Aqualung album in its entirety. We didn't have far to walk, but could only imagine how trippy Ian Anderson's swirly flute solos would sound during a moonlit hike through the foothills of Griffith Park. (Don't bother trying it with your iPod because it won't sound the same--and if a mountain lion or coyote doesn't eat you, one of the feral gold fish living in Griffith Park will). This year marked the album Aqualung's 40th anniversary and Tull proved that quality songs from the '70s still stand their ground. Despite the album's age, societal issues found in the lyrics, like the plight of the homeless and discontent with organized religion, still resonate today. The audience did as much rocking as could be done while seated, but once Tull started performing "Cross-Eyed Mary", nearly everyone was on their feet. Most of the audience sang along with the instrumental parts as well as the lyrical parts of the songs, which was entertaining. We couldn't help but chuckle when we overheard this snippet of conversation while Jethro Tull performed "My God": "Keith Richards could never write a riff this good!" "Ozzie wishes!" Jethro Tull kicked off their second set with their classic, and unarguably most popular, song "Aqualung". Once folks heard the infamous opening chords, they scurried back to their seats, trying not to spill their fresh cups of beer. A prism projection of the "dribbly-nosed voyeur" appeared behind the band and the ending of the song was met with a standing ovation. Thanks to Rock Band 2, the ten-year-old seated next to us was able to identify "Hymn 43" and proceeded to rock out with his dad. Anderson is still the same wide-eyed piper his diehard fans recall, often creeping across the stage and standing on one foot. The album Aqualung, which is revered as "one the greatest concept albums ever made", proved itself a timeless piece of musical histor, yet again. Tull came back onstage for two encore songs, ending with "Locomotive Breath", a song both heavy on bass and guitar, featuring an extended guitar solo.
|
|
kc
Prentice Jack
Posts: 24
|
Post by kc on Jun 14, 2011 14:55:46 GMT
The difference in set list between Red Rocks and Phoenix was due to Kansas opening at Red Rocks. We (at Red Rocks) received Kansas, Slipstream and no intermission. We lost Budapest and intermission. We also gained the Aqualung album in order except for flipping Wind Up and Locomotive Breath. I'm good with that. Everyone should be happy.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 15, 2011 12:52:23 GMT
You beat me by a couple minutes tt! Who's keeping score? ;D Just to score two Tulls out of ten. Locomotive Breath to fill Aqualung Jethro Tull to play entire classic album at Edgefield on Friday By Rob Cullivan The Gresham Outlook, Jun 15, 2011www.theoutlookonline.com/features/story.php?story_id=130809811909568400The recording studio acoustics were “pretty horrible” and “things sounded bad, and it wasn’t a good experience.” To talk to Ian Anderson, Jethro Tull’s flutist-singer, you’d think he was referring to the band’s early demo recordings. But he’s actually talking about the 1971 album “Aqualung,” considered by many critics one of the greatest progressive rock albums ever. “We were all a bit uncomfortable, and it wasn’t an easy ride,” he says of Tull’s recording in London’s Basing Street, or Island, Studios (where another band, Led Zeppelin, was initially recording its fourth album, featuring “Stairway to Heaven”). “We didn’t really know what we got until we took the finished results to master them in another studio,” Anderson says of “Aqualung” during a phone interview. What they got, however, was a future staple of classic rock radio, the most famous cuts of which include the title song as well as “Locomotive Breath.” Marking the 40th anniversary of the record’s release, Tull – including longtime guitarist Martin Barre – will perform “Aqualung” this Friday at McMenamins Edgefield. “On this particular tour, it’s pretty much as it was originally arranged and recorded,” he says, although Anderson adds “Hymn 43” will be played as “more of an Irish jig.” Anderson says audience members shouldn’t expect an overly elaborate show, band members “miming” with “partly naked male dancers or female dancers” to recorded tracks, as some pop acts do these days. “I really loathe and detest those kind of presentations,” he says, adding it would be impossible anyway. “It’s unlikely because we’re really bad tailors,” he says with a chuckle. “Those guys need a lot of money to take their clothes off, I’m guessing.”
|
|
|
Post by steelmonkey on Jun 15, 2011 16:02:35 GMT
Calling Tull a well oiled machine at this point is a severe understatement...more like an atomic clock, playing each song perfectly no matter how complex or challenging given that day's variables of venue, sound system, audience behavior etc. Tull were amazing last night. Very different set order (not list) from the first few concerts and I'm sad to have not seen 'Wind-up' but hard to complain. i had decent seats on a perfect summer nite...First song was LITP...nothing special, really, the same version they have been playing since the 25 year tour but got good crowd response and showed the band was in good form and Ian in great voice after 4 prior nights in a row. Then TAAB, driving the crowd wild...I noticed how much Doane has made this his own...really keeping it sharp and strong with his drum leadership....a medium length TAAB with ground covered year in, year out....Beggar's farm next...very fluffed up version, new, lengthy instrumental part and boiling hot throughout. Then the Aqualung focus started; Up to Me, Cheap day return and Mother Goose...all tight, sharp and crowd pleasing as hell....Goodier and Ohare shine on Mother Goose. Ian and martin playing loud and strong as one on farm on the freeway next, sounded like 1987...really good, the Wondering Aloud and the inevitable Bouree to end the first set. SFTW seemed like a strange choice to get people seated..It was much better than the versions i saw on You Tube from last year but not very long...still, hard not to get all mushy-gushy during 'Poppies red and roses filled with summer rain' as Tull a moment as any. The Hymn 43, changed upwith the martin mandolin first part and Cross eyed mary. My God another chance for Ohare to shine and Ian and martin doing some new and improved duets and trios throughout. beautiful Budapest and Aqualung as traditional set closer. Lococmotive Breathe encore included nice solos, teacher riffs and brought the happy crowd to a frenzied, long appplause fest ( Tull got standing ovations for: Brick, Goose, Bouree,My God, Budapest and aqualung as well). Sad to read I didn't get Wind up....would have traded LITP for Wind up in a second.
Okay---it's latter day Tull..the newest songs were from 1987 !!!!!! Can't complain about the heavy Aqualung predominance, i was warned. Tull were strong, spirited and as usual, in their own class making live music in a rather large ( 4 thousand ?) venue.
I want more and I want Ian to make future Tull setlists more like his solo tours...but a very nice night celebrating Aqualung's 40th.
|
|
|
Post by maddogfagin on Jun 15, 2011 17:44:01 GMT
I want more and I want Ian to make future Tull setlists more like his solo tours...but a very nice night celebrating Aqualung's 40th. Thanks for the review Bernie. I take it that it was well worth the wait ;D
|
|
|
Post by steelmonkey on Jun 15, 2011 18:31:56 GMT
I'm already waiting for the next one...can't come too soon.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 16, 2011 13:04:32 GMT
Q/A: Jethro Tull’s Ian Anderson sets the recording straight — ‘Aqualung’ put them on the international map June 16, 2011 oregonmusicnews.com/blog/2011/06/16/qa-jethro-tull%E2%80%99s-ian-anderson-sets-the-recording-straight-%E2%80%98aqualung%E2%80%99-put-them-on-the-international-map/by Jeff Melton and Scott Steele This week, venerable English rock legends Jethro Tull return to Eugene and Portland playing outdoors at both Cuthbert Amphitheatre on Thursday, June 16th and Edgefield on Friday, June 17th. They will play their classic 1971 album Aqualung in its entirety, in honor of its 40th anniversary. Bandleader Ian Anderson has been busy both with Tull and with his own solo performances, and the local appearances of the band are the first since the late nineties. OMN was lucky enough to chat with Anderson earlier this month. Do you remember the last time you were here in Portland? Ian Anderson: I think I was there doing an orchestral concert, wasn’t I? Right, that was last year. And the last time Jethro Tull was here? I’d have to look it up to tell you. You know better than I do. Jethro Tull was last in town in 1998 and now you’re going to be playing all of Aqualung live, is that right? Is it true that Tull has never played the entire album live? No, they played it back in 2005 and 2006 in a few concerts both in the USA, mostly on the East Coast, and some dates in the UK. But it’s only been done in a few shows, and this is the first time in your part of the country that we have played all of the tracks together. For this particular tour, were there songs that were harder to relearn than others? Not really. We often play “Aqualung,” “Locomotive Breath,” and “My God” – those have been featured in Jethro Tull and Ian Anderson shows for forty years. They’ve been constant visitors to the set list. Some songs, like “Mother Goose” are quite frequently played, and some songs like “Hymn 43″ and “Slipstream” have hardly been played at all. “Wind Up” hasn’t been played for a long time either. They are okay songs, but the ones I enjoy the most are the classic three. They’ve been good songs to feature live and in my solo concerts with orchestras, string quartets and so on. The word has already leaked out that the surround-sound mix for Aqualung is going to be coming out very shortly, in the next couple of months, right? It’s scheduled for September release by EMI as a collector’s edition with all the remixes, the original masters, some bonus tracks, and some alternative recordings of a few songs that were uncovered from the original master tapes. So, it’s a big project. It’s three months in the making – we’re just finishing the artwork now, and we should be ready to release it in September. Were you there to help supervise some of the remixing? Is this the first time you’ve met and worked with Steven Wilson of Porcupine Tree? That’s correct. So what do you think of his prowess of as an engineer? Have you heard the King Crimson remixes that he did? No, I haven’t. Steven Wilson did a very good job – he’s a little younger than me, but he has an avid interest in some of the classic albums of that era. His approach is very sympathetic and very respectful to the original presentation. He’s given it a lot more sonic clarity and more authority. Now it sounds a lot punchier and a lot cleaner for the digital age. The sound is an improvement from the rather muddy mixes which resulted from working in a studio that was very much an untried and untested room with terrible acoustics and equipment problems. It made it a bit of a nightmare to record the original album. So it’s good that Steven Wilson had a chance to revisit all that in a way that would fill me personally with some horror, to have to go into the studio and start work on something like that again, even with fresh ears or after all that time. Apart from which I’ve been on the road doing concerts a lot. So I wouldn’t find it very easy to fit it in time-wise anyway. But then he’s done a very good job. Once the remix process started, were there any specific corrections that needed to be made before you settled on a final mix that you were happy with? You have to remember that these tapes are very old tapes. When you are working with old tapes, chances are you’ll have a bit of a tradeoff. You can tidy things up, you can clean some things up with contemporary digital technology; however, it’s true to say that some of the oxide will have been lost from the tapes, from playing and just age. Some tapes are really too old and too fragile to work with safely. You have to bake them in an oven to try and get everything to glue to the backing of the tape again, and you have to try to keep the oxide intact long enough to give it a couple of passes to get some high-fidelity, professional-standard, digital copies made. In the case of Aqualung and indeed Thick as a Brick, I made one-to-one tape copies of those about fifteen years ago. So we actually have backup multi-track tape copies, as well as the original tapes. Watch “Thick as a Brick” at Madison Square Garden in New York City in October 1978: That is very good foresight on your part! They were the only two I actually took the trouble to do, but it was definitely worth doing in terms of having some contemporary tape stock with those with the material copied one-to-one in the analog tradition. It was worth it. I’m pretty confident. Some of the very old tapes are actually in better condition than the tapes from the late seventies and early eighties, at which point tapes were becoming thinner and theoretically of better quality; they in fact were very fragile, and some of the worst tape stock is actually from the early eighties. That was a bad time for certain batches of tape. But going back into the late sixties and early seventies the tape was much thicker. Because of the thickness of the tape, there isn’t as much tape on a reel, so you didn’t have as much playing time per reel. That was kind of good because of the quality of the tape. It was more solid, more resilient, thicker tape, and the oxide stuck to it better. Then tapes got thinner in order to put more tape on a reel and get more playing time. Stand Up was a wonderful record. The surround-sound mixes you got of the Carnegie Hall gig were excellent, and the fact that you were able to restore the entire gig and its running order is very wonderful. So thank you very much for doing that. We were pleased with that one too. I’ve got one question about the Stand Up reissue. The packaging is great and the miniaturization is really cool, but there’s no lyric sheet included! There wasn’t one there originally, but it would have been nice to have that. It would have been nice to have had it, but luckily in this day and age all you have to do is to Google search, and they will then appear in alphabetical order. Sometimes the lyrics will have the odd mistake in, but I use those websites a lot. It goes a lot quicker and faster. If I have to relearn a song I haven’t sung in some time, and I need a quick lyrical cue, then I just pop online and print out something off the Internet, and then reword it if I have to, if they have made some mistakes. But it’s a quick and easy way of getting the lyrics in an editable form, so I use those sites all the time. I wouldn’t worry about that which is not on the album, they’re not on the original as you say, and when we’re trying to do these re-masters and re-presentations, it’s very much about trying to stay close to the original; true to the original design work and original concept of the album, both in terms of the artwork and packaging and in terms of the music. By chance are you going to sing the original lyrics for “My God”? Well, that song was actually performed live many months before it was recorded. The original lyrics, whilst it might be amusing to sing them, are not the lyrics that most people know. So I’m going to attempt to stick with the one that was the recorded version. Watch “My God” live in 1970 from the DVD Nothing Is Easy: Live at the Isle Of Wight 1970: How much did your first wife help you with the lyrics of the Aqualung album? That’s a touchy subject that I really don’t want to get into. It was based on some material which she provided. It was one of the very rare attempts to have a joint effort in writing any music, let alone lyrics. I’m a loner. I like to work alone, but once in a while you try to do something with other people musically or, on this very rare occasion, sometimes lyrically. I think she remembers it a little differently to how I do. How important was American FM radio in 1971 to get the album tracks played in America to set the tone for the popularity of the album? It was incredibly important. It’s interesting to note, however, that Aqualung, was a fairly universal success story for Jethro Tull, putting the band on the map internationally, was successful in a lot of countries where there was no radio play at all. I think it was by word of mouth, by reputation and by approach of the fact that it was talked about. It had a place in the subculture of music, at least as far afield as the ex-USSR countries, the Latin American countries, and in some of the more Latin countries of Europe like Italy and Spain. In these places, Aqualung is a big album without getting any radio play. In fact in the UK it hardly got any radio play and we still don’t today. So yeah, it was important in America, because that was the medium and that was the culture. But it certainly managed very well without radio exposure in other countries. I think Aqualung probably contains two or three songs that have had a lasting impact and are still played on radio today. I think that’s why the album over the years has become a benchmark of Jethro Tull’s singer/songwriter kind of music as well as its full rock features. Was the band already headlining in the US when that album came out? Jethro Tull was headlining in 1969 in some smaller venues. But in 1970 and 1971 we were able to venture into the larger theaters and by 1972 into larger venues, into sports arenas and so on. When I was in Denver last night at Red Rocks Arena, I noted that Jethro Tull first played at Red Rocks in 1970 and again a year later in 1971. So we were the headline act at a venue associated with, I suppose, the good and the great of American and British rock music over the years. I guess we were doing okay back then just as we were last night, to have a lot of people sitting in a place that has played host to U2 and Bob Dylan and pretty much everyone who has ruled the planet and sold a few million records. I think the importance of Aqualung as an album was that it wasn’t just about having a short-term or even big out-of-the-box success. It had the effect of consolidating our music up to that date, and it took us on just to that slightly higher level, not only in the USA, but in most of the major markets in the world. It really put Jethro Tull on the international map. I think it’s important. Not that it’s important to people in America, because in the US, you don’t have the culture of thinking globally in the way that in Europe we tend to do. It’s rather like Formula One doesn’t really exist for Americans – though it’s the international popular form of motor racing, in the US it doesn’t exist at all. We have to accept that America is really quite a unique and totally different place with a totally different sort of culture and values regarding music and entertainment. We obviously want to cross over, but it’s its own world with its own identity. I think long ago, the British and a few European acts realized that America is a very special place to be successful and to perform in, but you can’t compare it to any other markets, partly because it has a huge tradition of rock radio which is really just not paralleled in any other country that I can think of. Classic rock is a comfort blanket to a generation. You’ve got that right! As people say, it’s the soundtrack of our lives, and of course, that’s what it’s about. But sadly, it tends to be driven by advertising. Increasingly, as far as being representative of the different artists and their catalogs, it’s going to be just those few songs that get all the plays on their small playlists, and very rarely do radio stations and their jocks have their freedom to go a little deeper into the catalog. Watch “Locomotive Breath” live in Chile from 2007: Terry Ellis, your old manager at Chrysalis, was quoted in Prog Magazine as saying that Aqualung was his favorite Tull record because it struck a really good balance between acoustic and electric pieces. Would you like to comment? It was at the point when I was feeling a little more confident to sit in the studio on my own and get some music onto tape without the other guys being around. So there are quite a few tracks that were recorded really around the vocal and guitar parts. I mean songs like “Wondering Aloud,” “Slipstream,” and “Mother Goose,” and “Cheap Day Return.” They are rather more like singer/songwriter kind of acoustic songs. The other guys would be involved in overdubbing their contributions to the master track that I put down. That was the way of getting that kind of intimacy. I thought that everything revolved around the master vocal and master guitar part. I didn’t like to add my vocals on afterward. They were always one of the main ingredients. One of the things that was interesting about “Wondering Aloud” was that I sang and played it twice, and I think it was the first of the two takes was the one that was declared to be the master, and we overdubbed string quartet, too, whereas take two has some piano playing as well, but no strings. It is interesting that there is just the two takes, both with the relative master vocal recorded live. We decided to include the version without string quartet, just as it was recorded live. So are there any completely unreleased pieces that you are putting on the Aqualung reissue? There was really nothing that has never been released. I’ve been all through the catalog in years gone by. If it had not been released, there were a few incomplete songs that were just doodles. Maybe there was just a demo put down, but they are not complete songs, just incomplete backing tracks. The men at EMI were kind of hankering after putting one of those incomplete ideas out just for the fans, and I said “No.” That’s a bit like getting out of bed in the morning and being photographed for a fashion magazine, bleary-eyed, in your underwear. It’s not for public consumption. It’s a private moment involving us all to the point where you go, “This doesn’t work.” Especially when these bits are not very well played, it doesn’t serve the reputations of the musicians when you are just fooling around in the studio with an idea that doesn’t go anywhere. I have to draw the line somewhere, and I’ve drawn it pretty firmly a long time ago with a few pieces of music that were incomplete and could be subsequently given some degree of completion. Like on the – I forget what it was called . . . it was an album I did back . . . it was Nightcap. Oh, right, the bits and pieces record! Fans of A Passion Play were very happy to be able to hear the precursor of that. Yeah, well, that’s it. There was some of that stuff that was sufficiently well played and sufficiently well formed, and even if there were songs that had not yet had lyrics written to them, there was a melody. Some melodic flute additions were made to the original backing tracks, just to give them something to make them worth listening to. But there are relatively few of those around, and they’ve all been released by now in one form or another. Are you planning anything of a similar nature for the Thick as a Brick anniversary? It’s a bit early to talk about that now. It will be a little while before I turn my attention to that one. You can ask me again in December or early January and I might be able to answer your question. At the moment I’ve got a little work to do between now and the end of October when we finish our tours this year. You were recently quoted as saying that you listened to Roy Harper and that he was a bit of an influence on you. Which albums of Roy’s do you like? Roy’s music was becoming very involved – he was also a little bit under the influence of people like me, and Jimmy Page and some of the Pink Floyd people, we had a kind of a mutual admiration society going on. We respected and enjoyed each others’ work and saw it as being a source of – if not a direct source, a sort of an inspirational source. Roy was very much infatuated with the idea of being in a rock and roll band, whereas some of the folks who were in rock and roll bands were interested in becoming lonesome troubadours who could get out and entertain with just an acoustic guitar and a pair of long trousers. You always like the idea of what other people do. But Roy was getting a little bit more involved as a musician at that point, and though I think he did some great tunes at that point, it was his earlier work that appealed to me. A really good set of tunes appeared on Come Out Fighting Genghis Smith that came out in the summer of 1968. That was the first record that impacted upon me, although I knew something of Roy’s reputation, because he came from the same patch of northern England that I had come down to London from. Are you planning to do any more recordings like Rupi’s Dance, recording and touring with that kind of material and approach? The answer is probably yes, because I do lots of different kinds of concerts outside of the Jethro Tull framework. So when I’m not doing perhaps the more mainstream rock material, I might work with an acoustic lineup, a string quartet, an orchestra, special guests, whatever it might be. I tend to do a lot more specifically different things when I go out on tour most of the year, and relatively few concerts these days that are specific to Jethro Tull. For example, this September I have a bunch of dates in the UK just as a trio, just me and two guys. That’s a way of stripping things down to a pretty basic and sometimes different way of doing the music, because without bass and drums, you have to think more about the way you convey the tune with a rather simpler arrangement. As of October, it’s going to be a string quartet in the late year, which will be more acoustic oriented, but we’ll have some of the rock arrangements, albeit done in a slightly different – not hugely quiet, but I get to do a lot of different kinds of things, whether it is acoustic stuff or rock stuff. It’s part of what I do for fun. I get to dabble in a number of areas of music outside of the more rigid and rather, I suppose, anticipated format that comes with doing gigs with Jethro Tull, especially in America, where Jethro Tull tends to be more synonymous with a classic rock band. Those songs that perhaps have had the most impact on the widest cross-section of the American public, whereas elsewhere I guess Jethro Tull is probably thought of more as a folk-rock band rather than very simply a rock band. Anyway, very nice to talk to you but I must move on. Watch Ian Anderson’s solo work live with the Frankfurt Orchestra: Celebrate the 40th anniversary of Aqualung with Jethro Tull in Eugene at the Cuthbert Amphitheatre on Thursday, June 16th or in Portland at Edgefield on Friday, June 17th.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 16, 2011 14:00:38 GMT
www.mercurynews.com/peninsula/ci_18282906Jethro Tull heats up the Mountain Winery By john reid Daily News Staff Writer Posted: 06/15/2011 07:08:29 PM PDT Updated: 06/16/2011 12:55:43 AM PDT Ian Anderson backpedaled some 40 yards across the Mountain Winery stage on Tuesday night in Saratoga, piercing the warm evening air with his flute as Jethro Tull wound down its lengthy encore, "Locomotive Breath." Tull's "Aqualung" 40th anniversary tour show, featuring most of the songs from the 1971 "Aqualung" album, was a rousing success. The capacity 2,500 spectators were captivated from the moving opening number, "Living in the Past," the title track from Tull's 1972 album. The song was a curveball thrown by Tull, for it had opened with "Thick as a Brick," the 1972 concept album, for much of the tour. Anderson encouraged the throng to sing the song's last lyrics. The Scottish-born Anderson showed early on that he could still balance himself standing on his right leg as he played his scintillating flute, even at the ripe age of 63. Guitarist Martin Barre, who first met Anderson back in 1968, owned the left side of the stage. At one point in the show, Anderson wished drummer Doane Perry an early happy birthday, then stated his age and Barre's, which is 64. Perry, a resident of Woodland Hills, turns 57 today as the tour hits Eugene, Ore. Bassist David Goodier, touring with Tull since 2002, stood in front of Perry's extensive drum set. Keyboardist John O'Hara, with Jethro Tull since 2003, was to Goodier's right. O'Hara was brilliant, switching from electric keyboard to electric accordion throughout the night. This is one of the world's most talented bands, with one of the world's most talented performers, Anderson, leading the way. Perhaps, sensing a special night was on hand, the band saved the more powerful tunes for the second set, though the first set was plenty dynamic. Anderson reached back to his 1968 debut album, "This Was," for "Beggar's Farm." "Here is an old blues number I used to play in the pubs," Anderson said. Then it was on to "Up To Me," the final track on Side 1 of Aqualung. Then an acoustical "Mother Goose," as Anderson stayed with the Aqualung theme. Then "Wond'ring Aloud," the third straight song from Aqualung. Tull closed the first set with the jazzy "Bouree," from "Stand Up," sounding so fine in what amounted to a Shakespearean setting. "We're taking a 20-minute break," Anderson said. "Go out and have a drink. They have barrels of wine up there, I've heard." The second set unfurled the title track from 1977 album, "Song From the Wood," and the wickedly powerful, "Farm on the Freeway," from the 1987 album "Crest of a Knave." "All I have left is a broken-down pickup truck," the lyrics driving into one's soul. Back to Aqualung it went with "Cross-Eyed Mary," the crowd now grooving in the seats, though some stood and danced. "Bucharest," also from "Crest of a Knave," was a sleeper tune with a rousing climax. That paved the way for "Aqualung," the title track. It might be taking the easy way out to say it was best song of the night, but leads by Anderson and Barre shook the house. "Good night," said Anderson, waving to the crowd. Not for long. Out came O'Hara to milk the opening notes of "Locomotive Breath." Then Barre sauntered out, joining O'Hara in a bit of back and forth. Last out was Anderson, his flute true to form. The band had some fun, occasionally inserting the main guitar lead of "Teacher," one of their earlier hits off of "Living in the Past," while Anderson rested against the wall behind O'Hara. It was quite the lesson taught by the master. Jethro Tull showed they can still bring it on, under a mostly full white moon at the Mountain Winery. Email John Reid at jreid@dailynewsgroup.com.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jun 16, 2011 14:14:28 GMT
www.theprovince.com/entertainment/Aqualung+comes+airing/4951975/story.htmlAqualung comes up for an airing By Tom Harrison, The Province June 15, 2011 Jethro Tull hadn’t released its Aqualung album when it headlined at the Pacific Coliseum 40 years ago, but it previewed many of its songs. Following a set by the post-Kiln House Fleetwood Mac, Jethro Tull offered “My God,” “Locomotive Breath,” “Cross-Eyed Mary” and the title track from the still-to-be-released record. These were forceful and laid out leader Ian Anderson’s beef against the inequity of society. He would come back to such themes though Jethro Tull was seldom as direct as it was on Aqualung. Forty years later, a song such as “Locomotive Breath,” is still a cornerstone of the Jethro Tull repertoire, but when the band is at the Centre Sunday, it will be accompanied by all the songs on Aqualung. For the 40th anniversary of the album, Tull is performing the record in its entirety. “It isn’t a matter of playing the songs; it is going back,” Anderson stresses. “Like ‘Mother Goose’ or ‘Up To Me’ required me to take myself back to where I was living at the time, or what I was doing. Or, each day I’d pass a homeless character not unlike the character pictured on the cover of Aqualung. I’m not a method actor, it’s me. When I sing ‘My God,’ I’m angry.” Anderson remembers previewing Aqualung clearly. “Well, I think we knew from playing the songs live onstage we had some strong material,” he recalls. “From the reaction we got we knew. It was a good way of testing the material. It’s a good way, road testing. We still do it. We’ve done it all our lives. I think we knew it was a good album.” Aqualung arrived at a pivotal point in the band’s career. It started as a blues band that occasionally mixed in jazz and stood out because Anderson introduced a most un-rock ’n’ roll instrument in the flute, which he’d usually be seen playing on one leg with the second aloft and crossed at the knee. With longtime guitarist Martin Barre providing sturdiness and Anderson acquiring a bizarre but distinctive image, Jethro Tull was ready to make a commercial and artistic leap. Aqualung became that springboard. “My memory of the time we were making Aqualung was that it gave me a role that was more than this deranged front rock ’n’ roll flute guy. “Fundamentally, the music holds up to me,” Anderson says now. “On a personal level, and on an intellectual level. The issue of organized religion, population control . . . “What you do as a songwriter is indulge your whimsy,” he continues. “I don’t [write social commentary] very often. I just write what I fancy. We don’t have a duty, or responsibility, to anyone, but you have to be careful when you’re writing songs about issues.” After Aqualung there came concepts, lofty statements, the labelling of the band as progressive rock, mergers of folk and classical music. Band members apart from Barre came and went, Anderson long ago took over Tull’s management and, on the side, he became well-known as a fish farmer. By comparison to all that came after, Aqualung seems a simple statement. Though not that simple. “Some of the songs are pretty rarely played,” Anderson grumbles. “I’m also approaching them as some guy who sits down with a guitar and re-learns them. It does require a bit of homework.” tharrison@theprovince.com ---------- IN CONCERT: An Evening with Jethro Tull Where: The Centre In Vancouver For Performing Arts, 777 Homer St. When: Sunday at 8 p.m. Tickets: $45.50-$89.50 at Live Nation and Ticketmaster Read more: www.theprovince.com/entertainment/Aqualung+comes+airing/4951975/story.html#ixzz1PRoUX62B
|
|
|
Post by nonrabbit on Jun 16, 2011 16:33:06 GMT
Wonder who's doing the artwork? as long as it doesn't stray too far and it's not too glamourised or "fantasy..ied" i55.images obliterated by tinypic/14j7r5d.jpg[/IMG]
|
|
|
Post by maxquad on Jun 17, 2011 0:50:32 GMT
Wow, Beggar's farm...one of my all time favorites that I've never seen live. My best tullfriend Bill asked me before the show at the rocks last week: You expecting anything special? My reply was well, other than a stellar performance by an amazing group of musicians, which we got, no doubt, a new tune or one out of the vault would be nice. I thought Farm on the Freeway was that in a way since it was unexpected, but they have played it on various recent tours. Us mountain folk lost out on Budapest also I think because of the altitude more than the length of Kansas' set. Goeddings had to hit the O2 bottle a couple times thoughout the set. Personally I would have traded Wind Up for either of those 'B' songs, but that's just me. My fave from the Aqualung tribute was "My God" Both Ian and Martin were really shining on that one and the new guys are really sounding good too. I'll be posting, probably on youtube, the other two vids I got soon, work impinges on my forum time for sure as it does my upload opportunities. Both aqualung and the finale, probably the best locomotive ride I've ever taken (even if the camera wouldn't focus), will be up for all to comment on, both about what great performances I captured and my crappy camera skills (my first video shoot.) Max out.
|
|
|
Post by maddogfagin on Jun 17, 2011 7:58:24 GMT
Wow, Beggar's farm...one of my all time favorites that I've never seen live. My best tullfriend Bill asked me before the show at the rocks last week: You expecting anything special? My reply was well, other than a stellar performance by an amazing group of musicians, which we got, no doubt, a new tune or one out of the vault would be nice. I thought Farm on the Freeway was that in a way since it was unexpected, but they have played it on various recent tours. Us mountain folk lost out on Budapest also I think because of the altitude more than the length of Kansas' set. Goeddings had to hit the O2 bottle a couple times thoughout the set. Personally I would have traded Wind Up for either of those 'B' songs, but that's just me. My fave from the Aqualung tribute was "My God" Both Ian and Martin were really shining on that one and the new guys are really sounding good too. I'll be posting, probably on youtube, the other two vids I got soon, work impinges on my forum time for sure as it does my upload opportunities. Both aqualung and the finale, probably the best locomotive ride I've ever taken (even if the camera wouldn't focus), will be up for all to comment on, both about what great performances I captured and my crappy camera skills (my first video shoot.) Max out. Thanks for that review Max. Feel free to post your images and youtube videos here for all of us to see, when you get a chance. ;D
|
|