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Post by maddogfagin on Aug 5, 2011 18:35:06 GMT
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Post by maddogfagin on Aug 9, 2011 7:28:00 GMT
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Post by Deleted on Aug 9, 2011 18:40:57 GMT
For a green man. (more than one meaning) haha
Jack in the green
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Post by maddogfagin on Feb 6, 2012 15:24:00 GMT
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Post by tuxedomarty on May 31, 2012 16:34:36 GMT
Ah yes, the album that infamously won the 1989 grammy for Best Hard Rock/Heavy Metal Performance.....I LOVE IT! XD
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Post by bunkerfan on May 31, 2012 19:57:25 GMT
Ah yes, the album that infamously won the 1989 grammy for Best Hard Rock/Heavy Metal Performance.....I LOVE IT! XD Yeah, still one of my favourite Tull albums too. Welcome to The Jethro Tull Forum Marty.
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Post by tuxedomarty on May 31, 2012 23:15:51 GMT
Thanks! Much appreciate it!
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Post by Deleted on Jul 3, 2012 13:01:25 GMT
1987! The Albums That Were Made 25 Years Ago! Part One! By Rob O'Connor | List Of The Day – 13 hours ago ca.music.yahoo.com/blogs/list-of-the-day/1987-albums-were-made-25-years-ago-part-222322197.html25) Jethro Tull -- Crest of A Knave: The album won the 1989 Grammy Award for Best Hard Rock / Heavy Metal Performance, Vocal or Instrumental, making it a legendary album in ways the band could never have foreseen. The album itself was released in September 1987 and I've never met anyone who bought it. Bands who made their reputation in the 1960s and 1970s often had their new material played on the emerging "Classic Rock" radio formats, however, sane people preferred the older output. The 1980s were not kind to veteran musicians. -----------------------------------------------> Different views; "I've never met anyone who bought it." FUNNY thing! By 1988/89 I was surprised that so many people had bought Crest of A Knave, those same people that had ignored Tull since Aqualung/Thick as a Brick or that had ignored them totally before were enjoying Knave.
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Post by steelmonkey on Jul 3, 2012 15:52:37 GMT
Blind men and the elephant ?
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Post by maddogfagin on Jul 3, 2012 17:59:50 GMT
Balderdash, poppycock and humbug.Rob O'Connor must be living on a desert isle - no one he knew ever bought it eh? Well someone did - it got to #19 in the UK album charts and #32 in the corresponding US charts.
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Post by Deleted on Jul 3, 2012 19:27:29 GMT
Balderdash, poppycock and humbug.Rob O'Connor must be living on a desert isle - no one he knew ever bought it eh? Well someone did - it got to #19 in the UK album charts and #32 in the corresponding US charts. Balderdash, poppycock and humbug. = I've been there. LOL ...my new theme. Like I said... Different views; "I've never met anyone who bought it." FUNNY thing! By 1988/89 I was surprised that so many people had bought Crest of A Knave, those same people that had ignored Tull since Aqualung/Thick as a Brick or that had ignored them totally before were enjoying Knave.
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Post by steelmonkey on Jul 28, 2014 17:06:01 GMT
So...if you look at the patch and isolate the third of it on the far right...can you possibly see, even slightly, how, when staring at it (poster in my room) concurrent to drug use, I clearly saw the California politician, Jerry Brown...don't compare to current pictures of him bald, this is when his hair matched the black tuft on the top of the right hand side of the logo....look it at for a long time...drink or use drugs...see? see Jerry Brown ? See? In profile ?
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Post by wyrdskein on Aug 16, 2014 11:53:53 GMT
It wouldn't be at the top of my list of favourite Tull albums, but I've always liked the way they try and vary their style, and don't just do the same old thing on every album. Also, the acoustic guitar on Budapest really highlights how good Ian Anderson is with that instrument (I assume this is Ian playing?).
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Post by rockodyssey on Jun 12, 2016 10:50:59 GMT
Question - This is one of my favourite JT albums, but has Ian Anderson ever indicated the reasons for the similarity between the lyrics of 'Mountain Men' and 'Thick As A Brick'?
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Post by nonrabbit on Jun 12, 2016 14:03:09 GMT
Question - This is one of my favourite JT albums, but has Ian Anderson ever indicated the reasons for the similarity between the lyrics of 'Mountain Men' and 'Thick As A Brick'? Not that I'm aware of however I am partial to exploring the lyrics. Mountain Men has some of my all time favourite lyrics and subsequent imagery. The poacher and his daughter Throw soft shadows on the water in the night. A thin moon slips behind them As they pull the net with no betraying light. And later on the coast road, I meet them And the old man winks a smile. And who am I to fast deny the right To take a fish once in a while? I walk with them, they wish me luck When I ship out on the Sunday from the Kyle. And from the church I hear them singing As the ship moves sadly from the pier. Oh, poacher's daughter, Sunday best, Two hundred brave souls share the farewell tear. There's a house on the hillside, where the drifting sands are born. Lay down and let the slow tide wash me Back to the land where I came from. Where the mountain men are kings And the sound of the piper counts for everything. Did my tour, did my duty. I did all they asked of me. Died in the trenches and at Alamein ... Died in the Falklands on T. V. Going back to the mountain kings Where the sound of the piper counts for everything. Long generations from the Isles Sent to tread the foreign miles Where the spiral ages meet. Felt naked dust beneath their feet. Future sun called winds to blow And the past and present hard-eyed crow Flew hunting high and circling low over blackened plains of Eden. There's a child and a woman praying for an end to the mystery. Hoping for a word in a letter Fair wind-blown from across the sea To where the mountain men are kings And the sound of the piper counts for everything. Feel the naked dust beneath my toes While the future sun calls winds to blow And the past and present black-eyed crow Flies hunting high and circling low Between dream mountains of our Eden. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Really don't mind if you sit this one out. My words but a whisper your deafness a SHOUT. I may make you feel but I can't make you think. Your sperm's in the gutter your love's in the sink. So you ride yourselves over the fields and You make all your animal deals and Your wise men don't know how it feels to be thick as a brick. And the sand-castle virtues are all swept away in The tidal destruction The moral melee. The elastic retreat rings the close of play as the last wave uncovers The new-fangled way. But your new shoes are worn at the heels and Your suntan does rapidly peel and Your wise men don't know how it feels to be thick as a brick. And the love that I feel is so far away: I'm a bad dream that I just had today and you Shake your head and Say it's a shame. Spin me back down the years and the days of my youth. Draw the lace and black curtains and shut out the whole truth. Spin me down the long ages, let them sing the song. Now I will study the possible similarities and get back.
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Post by nonrabbit on Jun 12, 2016 14:12:12 GMT
For me Mountain Man conjures up - The (Scottish) Highlands, the Lochs, WW1, the small coastal village and the church filled with locals praying for their sons, brothers, and husbands going off to war.
The first part with the poacher and his daughter fishing in the twilight - I don't know whether there is any hidden meaning but it surely 'paints' one of the most beautiful pictures from Ian's mind.
Given all that, I might suggest that the lyrics from Wootten Bassett on TAAB2 might be more in keeping and could be one of those sons, brothers or husbands calling back to their families.
Hourglass sands run through my veins like blood draining from a salty wound. Mad Mars forgets the cost of strife, serves no longer, purpose in my life. I lie in sweat, cry others' tears and write a letter to my Mum, my wife, my God unheard, unseen, Who never thinks to intervene.
Oh, what pain and oh, what lie has called to us, from heaven on high? This cruel and harsh sweet punishment for follies acted, leaves us spent. Long road to Baghdad, then Persian hordes? Where will we stop to sheath our swords? IEDs lie patient, sleeping, wake when soldier boots come creeping.
Hourglass sands run through my veins like blood draining from a salty wound. Mad Mars forgets the cost of strife, serves no longer, purpose in my life. Down this dusty scorched wind-blast track, eyes facing forward, ne'er look back. As rain comes down on Wootton Bassett Town, black hearses crawl and church bells sound. Bikers, burghers line the kerbs; a politician, a Highness Royal. Chance shoppers, tradesmen, stiffly stand and shed their tears for the military man
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Post by maddogfagin on Jun 12, 2016 15:27:28 GMT
Question - This is one of my favourite JT albums, but has Ian Anderson ever indicated the reasons for the similarity between the lyrics of 'Mountain Men' and 'Thick As A Brick'? I don't think IA has ever mentioned this and is certainly not something many fans, including myself, have ever really considered. The themes of both songs are to my mind quite different and are not similar imo. However CoAK is a corker of an album - one I listem to a lot.
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Post by jethrotull on Jun 13, 2016 3:17:20 GMT
I may be the lone disenter here, but I did not like KOAK when it came out and have never changed my opinion. It sounds to me like a bar band trying to sound like ZZ Top. After seeing many magnificent Tull performances in the early to mid-seventies I find this mid-eighties music quite one dimensional and uninspired. Though billed as a return to the hard rock form, Martin Barre has played so much better on other albums throughout the band's career. Just one man's opinion.
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Post by rockodyssey on Jun 13, 2016 7:21:13 GMT
Specifically I'm thinking of "The poet and the painter, casting shadows on the water' from TAAB and "The poacher and his daughter throw soft shadows on the water in the night" from COAK. Not only is there a similarity of phrasing, but the melody is almost identical as well (I think!?)
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Post by maddogfagin on Jun 13, 2016 7:38:04 GMT
I may be the lone disenter here, but I did not like KOAK when it came out and have never changed my opinion. It sounds to me like a bar band trying to sound like ZZ Top. After seeing many magnificent Tull performances in the early to mid-seventies I find this mid-eighties music quite one dimensional and uninspired. Though billed as a return to the hard rock form, Martin Barre has played so much better on other albums throughout the band's career. Just one man's opinion. No problem with having differing views here on the JT Forum. My own opinion about the album is that it was conceived, written and produced at a time when the laid back style was all the rage and so fitted in well with what was about at that time.
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Post by maddogfagin on Jun 13, 2016 7:41:52 GMT
Specifically I'm thinking of "The poet and the painter, casting shadows on the water' from TAAB and "The poacher and his daughter throw soft shadows on the water in the night" from COAK. Not only is there a similarity of phrasing, but the melody is almost identical as well (I think!?) Yes I see - that particular similarity hadn't hit me before. Interesting.
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Post by nonrabbit on Jun 13, 2016 8:34:19 GMT
I may be the lone disenter here, but I did not like KOAK when it came out and have never changed my opinion. It sounds to me like a bar band trying to sound like ZZ Top. After seeing many magnificent Tull performances in the early to mid-seventies I find this mid-eighties music quite one dimensional and uninspired. Though billed as a return to the hard rock form, Martin Barre has played so much better on other albums throughout the band's career. Just one man's opinion. As a fan from 1972 and as someone who had a Tull sabbatical( that lasted a few years) I remember one aficionado 'warning' me (when I returned to the fold) that I would find it different when I first heard it. When I listened - I thought bloody hell he was right! It's not one of my favourites either however it has Budapest which is one of my all time favourite songs. In conclusion - it's a piece in the smorgasbord of all that has been offered to us on the table of Tull.
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Post by nonrabbit on Jun 13, 2016 8:38:44 GMT
Specifically I'm thinking of "The poet and the painter, casting shadows on the water' from TAAB and "The poacher and his daughter throw soft shadows on the water in the night" from COAK. Not only is there a similarity of phrasing, but the melody is almost identical as well (I think!?) Yes that's a good one. There's a thread here called 'Cross - referenced' which has some more examples you might be interested in. jethrotull.proboards.com/thread/2453/cross-referencedIt's all lyric examples but please add anything music related there too.
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Post by JTull 007 on Jun 13, 2016 11:10:58 GMT
I may be the lone disenter here, but I did not like COAK when it came out and have never changed my opinion. It sounds to me like a bar band trying to sound like ZZ Top. After seeing many magnificent Tull performances in the early to mid-seventies I find this mid-eighties music quite one dimensional and uninspired. Though billed as a return to the hard rock form, Martin Barre has played so much better on other albums throughout the band's career. Just one man's opinion. You may have a point based on the video interpretation for MTV Classic "Steelmonkey" Although very different from past albums, this one caught on due to some slick similarities.
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Post by Tull50 on Jun 13, 2016 23:36:17 GMT
Just my opinion, but for my Budapest is a masterpiece and the album in general with maybe a couple of exceptions is more than remarkable. Maybe my first impression seemed to me more like to Dire Straits... I've noticed also by countries there are different likes, for example in Spain Catfish Rising is considered a great album, here we say "round" "redondo", when there is no bad song. It would be interesting to know the taste of albums by country, for example in Germany Broadsword and The Beast was a success! There is not an obligation to have all the same likes
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Post by futureshock on Jun 14, 2016 2:10:57 GMT
OK then, a vote from western North America. I think the album is terrific and while it focuses on punchy short songs with the couple longer exceptions, I greatly admire Mountain Men and while Budapest has its merits, it's one of my least favorites of the bunch. Sure it works, I'll give it that. Overall, a Tull album more rocking and riffy than usual is fine with me. I've heard rumor of a "next" Tull or I.A. album and it being a hard rocker, so that could be another chance at the rocking shorter ones and a few extensive side trips up Progressive Park? I had heard the album quite a few times before the "Dire Straits" comparison hit me and I've heard lots of the DS style. I don't see it as an issue. I think it's Dire Straits that's the problem. They need more claghorn and duct tape.
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Post by rockodyssey on Sept 9, 2016 19:12:33 GMT
CREST OF A KNAVE (1987)
I came to this at the peak of my interest in Jethro Tull. It was probably the first album of theirs that I heard on release. At the time there was much hoo-ha about the band celebrating 20 years in the business. These days even Take That have clocked up 26, but back in 1987, a band that started in the mid-sixties and were still around was enough of a rarity to be remarkable. There were documentaries and everything, including one that focussed on Ian Anderson on his estate on Skye. I think one of the things I like about Crest Of A Knave is that there is a real coherence about the themes, even though they are quite diverse (the plight of the modern farmer/temptations of being on tour/the West Highlands). Anderson has been criticized a bit for his Knopfler-esque vocal, which was at least partly due to a recent illness. It was alarming at the time that he appeared to be laying it on quite thick, but listening to it again, I actually find it less obvious than back then, probably because you never hear Mark Knopfler these days. The opening track and single won the grammy for best Hard Rock/Metal Performance Vocal or Instrumental, which probably tells you more about the state of Metal in 1987 than it does about Tull's style at the time (mind you, it did beat 'And Justice For All'). But 'Steel Monkey' is a great song, I have it on 12" single somewhere. Monkeys were big in the mid 80's. Peter Gabriel shocked his, Warren Zevon just wanted you to leave his alone and Twelfth Night had a blue powder one (but perhaps only I remember them). I've noted on Thick As A Brick that the lyrics to Mountain Men bear striking similarities to that album in places. 'Said She Was A Dancer' and 'Budapest' always felt like a pair of companion songs, although the sense of Anderson acting like a randy old goat when confronted by lithe Eastern European women is hard to shake off. 'Dogs In The Midwinter' is a great song, but the lyrics are several metaphors too far. East-West tension is my best guess. The groany vocal is at its worst in the closing 'The Waking Edge', but like the rest of the album, time has been kind to it. Definitely in my top three.
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Post by maddogfagin on Sept 10, 2016 8:15:28 GMT
CREST OF A KNAVE (1987) I came to this at the peak of my interest in Jethro Tull. It was probably the first album of theirs that I heard on release. At the time there was much hoo-ha about the band celebrating 20 years in the business. These days even Take That have clocked up 26, but back in 1987, a band that started in the mid-sixties and were still around was enough of a rarity to be remarkable. There were documentaries and everything, including one that focussed on Ian Anderson on his estate on Skye. I think one of the things I like about Crest Of A Knave is that there is a real coherence about the themes, even though they are quite diverse (the plight of the modern farmer/temptations of being on tour/the West Highlands). Anderson has been criticized a bit for his Knopfler-esque vocal, which was at least partly due to a recent illness. It was alarming at the time that he appeared to be laying it on quite thick, but listening to it again, I actually find it less obvious than back then, probably because you never hear Mark Knopfler these days. The opening track and single won the grammy for best Hard Rock/Metal Performance Vocal or Instrumental, which probably tells you more about the state of Metal in 1987 than it does about Tull's style at the time (mind you, it did beat 'And Justice For All'). But 'Steel Monkey' is a great song, I have it on 12" single somewhere. Monkeys were big in the mid 80's. Peter Gabriel shocked his, Warren Zevon just wanted you to leave his alone and Twelfth Night had a blue powder one (but perhaps only I remember them). I've noted on Thick As A Brick that the lyrics to Mountain Men bear striking similarities to that album in places. 'Said She Was A Dancer' and 'Budapest' always felt like a pair of companion songs, although the sense of Anderson acting like a randy old goat when confronted by lithe Eastern European women is hard to shake off. 'Dogs In The Midwinter' is a great song, but the lyrics are several metaphors too far. East-West tension is my best guess. The groany vocal is at its worst in the closing 'The Waking Edge', but like the rest of the album, time has been kind to it. Definitely in my top three. CoaK arrived a couple of years (or so) after a surge of interest in the band, at least here in the UK. Dave Rees had started publishing A New Day a couple of years before and around that time there was an embryonic convention - about 12 - 15 Tull fans met in a pub in Ealing to have a chat, drink beer and to revel in the fact that there were other like minded people about. IA had moved on from the theme of spies on Under Wraps and was beginning to explore some other aspects of the Eastern bloc (Budapest, .....Dancer) and also worldwide ecological themes such as Farm On The Freeway. And as the Berlin wall came down two years later it did seem appropriate for IA to have written, in '87, a few songs about the more human side of the communist pact. A fine album - one that in my view should be in everybody's top ten.
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Post by maddogfagin on Sept 10, 2016 14:43:21 GMT
A fine album - one that in my view should be in everybody's top ten. No way! . . . to slow down
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Post by Deleted on Sept 10, 2016 16:51:54 GMT
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