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Post by maddogfagin on Aug 2, 2011 17:52:32 GMT
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Post by steelmonkey on Aug 3, 2011 0:18:57 GMT
Hate the jet-lagged Russian gangster look
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tullist
Master Craftsman
Posts: 478
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Post by tullist on Aug 3, 2011 2:28:37 GMT
You sure you don't like that bottom one B, I think its a classic. Not hard for me to believe rumors of a 160 IQ with that stare. I don't even want to know my IQ, were it beneath an area of comfort pretty sure it would break me.
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Post by steelmonkey on Aug 3, 2011 3:07:37 GMT
I wouldn't be surprised to learn Ian's IQ is way up there...I probably barely push triple figures...but I'm an idiot savant...you know the jumbles in the paper? I do them in milliseconds like a circus trick....people at work bring strangers by with the AM paper and i do them instantly an ever one is amazed. Practical value: NONE.
One of me secret girl standards is IQ greater than weight. (BOO SEXIST!)
Lincecum at bat looks like an escapee from Zappa's band...all stringy hair and shell-shocked
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tullist
Master Craftsman
Posts: 478
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Post by tullist on Aug 3, 2011 4:49:22 GMT
Description of that guy is truly accurate, nice job. Pretty sure he admitted to smoking pot too.
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Post by nonrabbit on Aug 3, 2011 9:43:48 GMT
One of me secret girl standards is IQ greater than weight. (BOO SEXIST!) One of me secret boy standards is wallet bigger than belly
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Post by nonrabbit on Aug 3, 2011 9:50:57 GMT
Hate the jet-lagged Russian gangster look ;D title for next twitter and if we get banned - I'm sending them your way
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Post by nonrabbit on Aug 3, 2011 9:59:58 GMT
Description of that guy is truly accurate, nice job. Pretty sure he admitted to smoking pot too. I take it you mean the other bloke and not Ian Don't encourage the "Ian took drugs" conspiratorialists* - they sit in the Youtube comments section waiting to pounce. * slightly less annoying than the "Ian is a mean tight - fisted barsteward" group
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Post by maddogfagin on Aug 3, 2011 18:13:55 GMT
Hate the jet-lagged Russian gangster look Credit: WilliZBlog
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Post by steelmonkey on Aug 4, 2011 1:30:14 GMT
Wow...Thanks...I needed that...and the Fat Man from the same gig...please sir ( Dog? laufi? Albinz?) can I have some more ? Must be more cuz the three at hand are 'look ma no drums' but there is a drum set in back.
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Deleted
Deleted Member
Posts: 0
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Post by Deleted on Aug 4, 2011 12:54:02 GMT
Much love for this album. Nice sounding LP. Cassette and 1997 remastered CD. I like the 1997 remaster. I gave the flat sounding original CD to a friend who has now become a fan of the album, thank God.
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Post by maddogfagin on Aug 4, 2011 17:19:48 GMT
Wow...Thanks...I needed that...and the Fat Man from the same gig...please sir ( Dog? laufi? Albinz?) can I have some more ? Must be more cuz the three at hand are 'look ma no drums' but there is a drum set in back. From The Ministry web site: Mid-'83 Ian's home studio (Buckinghamshire), UK Recording 'Walk Into Light'.
15/11/83 Atlas Circus München, Germany 'Rock Classik Nacht' - ZDF TV Also appearing: Jack Bruce, Mark Nauseef, Fela Kuti Made In England, Fly By Night, Fat Man, African Jazz Jam (Ian with Fela Kuti)
18/11/83 UK release of 'Walk Into Light' Highest chart position: 78
30/11/83 BBC Pebble Mill Birmingham, UK Pebble Mill At One Presumably an interview with Ian. Ian & PJV performed 'Fly By Night' - partly live, with pre-recorded backing.
5/12/83 US release of 'Walk Into Light' Did not appear in the charts. Interview and mimed "Fly by Night" with Peter John Vettesse, from solo Ian Anderson album "Walk into Light". TV program "Pebble at Mill One". Credit: carlosabbatemarco
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Post by steelmonkey on Aug 4, 2011 21:16:37 GMT
So that is all there was, of value....Ian HATED his 'jam' w/Fela but spoke happily about meeting and talking to jack bruce.
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Post by hawkmoth on Oct 18, 2011 19:38:28 GMT
Whilst i think the first 2 songs of this album are really good,it really makes you remember how terrible 80's music really was ,production wise etc! Those awful drum machines,toneless synthesizers,electronic basslines arghhh!!!. Glad its all gone forever hopefully.
Remember 1st hearing of 'Crest' and being stunned at how good it was after 'Under Wraps'. Marts guitar absolutely killer after the limp 'Wraps' effort.
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Post by oksauce on Oct 18, 2011 21:08:24 GMT
I don't even care about the production on this album though, I manage to mostly enjoy the songwriting and musicianship despite the drum machines etc.
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Post by nonrabbit on Oct 19, 2011 7:11:40 GMT
I don't even care about the production on this album though, I manage to mostly enjoy the songwriting and musicianship despite the drum machines etc. and thats the way I felt about Broadsword too and still do - if I listen for it Yes I can pick up the 80's vibe (and thank goodness it's in the past too) however everything else just blew me away and made up for it. Hate the album cover a curious combination of, as Steelie says, the Russian gangster look and the BBc's 60's logo I know it's related to the song but I still hate it.
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Post by maddogfagin on Oct 19, 2011 8:00:14 GMT
I don't even care about the production on this album though, I manage to mostly enjoy the songwriting and musicianship despite the drum machines etc. Good songs, great musicianship, cr@p drums. Ultravox on one leg perhaps ?
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Post by oksauce on Oct 19, 2011 12:53:04 GMT
I don't even care about the production on this album though, I manage to mostly enjoy the songwriting and musicianship despite the drum machines etc. and thats the way I felt about Broadsword too and still do - if I listen for it Yes I can pick up the 80's vibe (and thank goodness it's in the past too) however everything else just blew me away and made up for it. Hate the album cover a curious combination of, as Steelie says, the Russian gangster look and the BBc's 60's logo I know it's related to the song but I still hate it. for me the production works as part of Broadsword, it's the only synth rocky 80s album I know that really works for me
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Post by maddogfagin on Oct 19, 2011 17:40:03 GMT
Two reviews from www.progreviews.comWhen is an Ian Anderson album not a Jethro Tull album? Apparently when it doesn't have Martin Barre on it. This album combines Ian Anderson's cleverly crafted songs with the bleeding edge synthesizers from 1983 and the virtuosic keyboard skills of the Peter-John Vetesse. The result is, unfortunately, rather lightweight. The most notable feature of the new wave of syunthesizers coming in at the time is their lack of warmth. Compare "Journeyman" on Tull's 1978 album Heavy Horses with "Trains" from this album and one will see the transformation from the diesel engine in the rustic setting to the sterile electric engine, populated with the rushing classes, but divorced from nature completely.
There are moments though when the sound breaks out into something special. For me that moment comes in "Different Germany". The cold, austere sound is a perfect setting for the bleak, pessimistic lyrics.
This album is clearly an attempt by Anderson to become more relevant to the concerns of the day, both lyrically and instrumentally. Lines such as "and QWERTY is the name of love printed on the VDU" bring a smile to my face even now, and there does seem to be some genuine innovation on the synths.
In the end though, Ian Anderson has attempted to make a Fabergé egg out of fibreglass. The medium has proved to be inadequate despite the ability of the craftsman. It is however better than the similarly electronic Under Wraps which followed from Jethro Tull in the next year. This is not a bad album, but is best for Tull completists and those with a perverse like of early eighties synths.After 15 years helming one of the most successful British groups of the 70s, Ian Anderson finally decided to release a solo album under his own name. This decision must have raised more than a few eyebrows, for excepting the band's debut album, Anderson pretty much was and is Jethro Tull, to the point that people even think that's his name. So why bother? Anderson explains this album as an attempt to step away from the organic aspects performed on the more traditional instruments that had defined Jethro Tull up to that point. From the liner notes of the CD, Anderson recognized that the 70s were closing fast, and wanted to do his best to remain relevant with the direction British pop music was moving in by embracing the new keyboard technology being utilized by new wave bands on the rise. Walk into Light actually represents a collaborative effort between Anderson and keyboardist Peter-John Vettese, who co-wrote half the songs here, something up to that point that would be unheard of for a typical Tull album.
Indeed, a picture says a thousand words: compare the dapper Anderson in business-like attire amidst the grey monochrome here with the album cover of Songs from the Wood, six years previously. The sound is light years from the folky earthiness of late 70s Tull, and dominated by synthesizers that have long since passed into history: the Rhodes Chroma (released just the year before), the popular Yamaha CP80 electric piano, and a small company of Rolands: the Jupiter 8, Promars, and MC202. When backed by the Linn Drum machine and a pristine sound quality, you should get the picture. Finally, the lyrical imagery also falls lock-step into place. There's no way "Jack o' the Green" or "Hunter Girl" could survive in this synthetic environment, so instead we have songs about television, trains, computers, and other objects of modern industry.
Yet, this isn't a bad album. Despite the de-emphasis of the flute and overemphasis of the synths and Linn, many of the songs still basically sound at heart like Jethro Tull tunes. The intricate counterplay, odd time signatures, richly descriptive lyrics, and Anderson's very particular phrasing of melody (even the verse of "Walk into Light" sounds in parts somewhat reminiscent of "Mother Goose" from Aqualung), combined with Vettese's virtuosity (check out that solo on "Different Germany")... these just wouldn't show up on a Depeche Mode album. This album has got some decent songs, my particular favorites being "Fly by Night," "Made in England," "Looking for Eden," and "User-Friendly." The very catchy "Trains" would have made a good single. Given the times and comparative primitiveness of the technology, Vettese must be given credit for drawing a wide variety of interesting sounds and effects out of these keys.
In retrospect, one can get an understanding of why Walk into Light was a commercial and critical failure. The songs were still too much like Jethro Tull to reach a new audience, while at the same time not nearly Jethro Tull enough in instrumentation to be accepted by loyal fans. In short, an album that ended up on the fence, rather than on either side of it where it stood more of chance. A shame, since again it's not too bad an album, if you can get past the datedness. Anderson would give it one more shot, taking this sound as well as Vettese to the mother band for their next album, the similarly rejected Under Wraps.
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Post by hawkmoth on Oct 21, 2011 19:43:41 GMT
Never really considered 'Broadsword' an 'Electronic' album in same vain as WIL and UW ,strong guitar and real drums made it business as usual for me.
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Post by wyrdskein on May 3, 2012 18:00:40 GMT
I agree. I wouldn't put Broadsword in the same category - but I do like Walk Into Light. It lives in my car and I listen whilst driving sometimes.
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Post by steelmonkey on May 3, 2012 19:16:56 GMT
'Watching You Watching Me' would be right at home on Wraps or Light.
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Post by wyrdskein on May 15, 2012 10:27:03 GMT
I'll concede that, but probably rather too good for Walk Into Light do you think?
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Post by Tull50 on Apr 2, 2013 21:16:54 GMT
Walkman times
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Post by maddogfagin on Jan 26, 2014 14:35:00 GMT
FORGOTTEN CLASSICS: IAN ANDERSON’S WALK INTO LIGHTwww.factmag.com/PUBLISHED 23 Jan 2014 WORDS BY Jorge Velez IAN ANDERSON Walk Into Light (Chrysalis, LP, 1983) Picked by: Jorge Velez, otherwise known as L.I.E.S.-approved producer Professor Genius. J.VELEZ PRESS I present you with the possibly ill-advised pairing of synthesisers, drum machines, Jethro Tull’s frontman and his flute. The word “misbegotten” has often been employed to describe records like this one. Not by me. I think this record is a beauty and let me tell you why. When I picked up this album many, many years ago (yes, vinyl) at the 4th and Broadway Tower records in New York City, I was on one of my bi-weekly record excursions, where twenty bucks would score me three new and maybe one cut-out bin record plus enough for a slice and soda. I don’t remember what other records I purchased the day I bought Walk Into Light but I still recall the moment I first saw the jacket: a grumpy looking guy in a suit (Ian Anderson) looked out and directly at me as he walked off towards the right of the jacket. A flat cylindrical shape with a variety of colored cells – I guessed computer generated – ran across the width of the entire thing. It all looked sufficiently futuristic enough, in a very understated way, for me to flip it and check the back. That’s when it got good. I was already a nerd for production credits by that time, and though I recognised neither the artist in question here or his production compadre Peter-John Vettese, I was drawn by the list of “Instruments Used” at the bottom of the jacket: Rhodes Chroma and Expander, Yamaha CP80, Roland JP8, Promars, MC202, Emulator, Linn Drum Computer. It read like a robot market, like the baby version of the gear list on one of my beloved Tomita albums. I was sold. I think it took me a bit of time owning the record before I realised this was a solo album by the lead guy from Jethro Tull. This was a band I certainly knew from listening to Classic Rock radio but I never paid much attention to them. They sounded like old cigarette butts and wet fringed leather to me. A musty, creaky sound. “The list of “Instruments Used” read like a robot market. I was sold” However, just like its cover promised, the music is of a slightly perturbed man singing about his grey world with just a hint of affection as the most colourful, flat-yet-shiny machine music enveloped his elegant, nasal voice. Occasionally you’d hear Anderson’s signature flute playing, but it blended so well with the trills and thump coming from the Rhodes Chroma, Linn Drum and company that you couldn’t tell it wasn’t synthetic. This was machine music as perfectly orchestrated as what The Human League had stormed the US charts with a year or so previously – but it was somewhat proggier, at times more melancholy and, on the lyrical end, often endearingly awkward. Laugh Out Loud Eighties and all that. But lyrics really didn’t matter here. Peter-John Vettese managed to surround Anderson with what are, to me, some of the loveliest final miniature excursions of the original analog synth era before digital synths took over. Having read up on the record years later, I learned it was not only a flop, but that Anderson rejected it as too cold: he thought it could have used some more electric guitars (there are a few on the album, but they are negligible) and a live drummer to make it better. In his world, perhaps. But to me, the record stands out as one of the best, most natural-sounding dabblings by a “rock icon” in that mysterious universe of synthesisers and electronics. And it’s one of the few albums where the sleeve almost perfectly projects what you will hear before you first set down that needle. I have still never listened to a Jethro Tull album, by the way.
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Post by Equus on Jan 26, 2014 16:00:14 GMT
FORGOTTEN CLASSICS: IAN ANDERSON’S WALK INTO LIGHTwww.factmag.com/PUBLISHED 23 Jan 2014 WORDS BY Jorge Velez IAN ANDERSON Walk Into Light (Chrysalis, LP, 1983) Picked by: Jorge Velez, otherwise known as L.I.E.S.-approved producer Professor Genius. J.VELEZ PRESS I present you with the possibly ill-advised pairing of synthesisers, drum machines, Jethro Tull’s frontman and his flute. The word “misbegotten” has often been employed to describe records like this one. Not by me. I think this record is a beauty and let me tell you why. When I picked up this album many, many years ago (yes, vinyl) at the 4th and Broadway Tower records in New York City, I was on one of my bi-weekly record excursions, where twenty bucks would score me three new and maybe one cut-out bin record plus enough for a slice and soda. I don’t remember what other records I purchased the day I bought Walk Into Light but I still recall the moment I first saw the jacket: a grumpy looking guy in a suit (Ian Anderson) looked out and directly at me as he walked off towards the right of the jacket. A flat cylindrical shape with a variety of colored cells – I guessed computer generated – ran across the width of the entire thing. It all looked sufficiently futuristic enough, in a very understated way, for me to flip it and check the back. That’s when it got good. I was already a nerd for production credits by that time, and though I recognised neither the artist in question here or his production compadre Peter-John Vettese, I was drawn by the list of “Instruments Used” at the bottom of the jacket: Rhodes Chroma and Expander, Yamaha CP80, Roland JP8, Promars, MC202, Emulator, Linn Drum Computer. It read like a robot market, like the baby version of the gear list on one of my beloved Tomita albums. I was sold. I think it took me a bit of time owning the record before I realised this was a solo album by the lead guy from Jethro Tull. This was a band I certainly knew from listening to Classic Rock radio but I never paid much attention to them. They sounded like old cigarette butts and wet fringed leather to me. A musty, creaky sound. “The list of “Instruments Used” read like a robot market. I was sold” However, just like its cover promised, the music is of a slightly perturbed man singing about his grey world with just a hint of affection as the most colourful, flat-yet-shiny machine music enveloped his elegant, nasal voice. Occasionally you’d hear Anderson’s signature flute playing, but it blended so well with the trills and thump coming from the Rhodes Chroma, Linn Drum and company that you couldn’t tell it wasn’t synthetic. This was machine music as perfectly orchestrated as what The Human League had stormed the US charts with a year or so previously – but it was somewhat proggier, at times more melancholy and, on the lyrical end, often endearingly awkward. Laugh Out Loud Eighties and all that. But lyrics really didn’t matter here. Peter-John Vettese managed to surround Anderson with what are, to me, some of the loveliest final miniature excursions of the original analog synth era before digital synths took over. Having read up on the record years later, I learned it was not only a flop, but that Anderson rejected it as too cold: he thought it could have used some more electric guitars (there are a few on the album, but they are negligible) and a live drummer to make it better. In his world, perhaps. But to me, the record stands out as one of the best, most natural-sounding dabblings by a “rock icon” in that mysterious universe of synthesisers and electronics. And it’s one of the few albums where the sleeve almost perfectly projects what you will hear before you first set down that needle. I have still never listened to a Jethro Tull album, by the way. I just love it too... The gloomy atmosphere... The songs! The lyrics! The music! Looking for Eden... I felt like Ian was speaking directly to me... I had exactly this feeling, or so it felt to me... not all of the time, but some of the time, I felt lost in the 80's... Ian Anderson. Looking For Eden: As I drove down the road to look for Eden saw two young girls but left them standing there. They were too late to get home on the underground and probably too drunk, too drunk to care. Can anyone tell me the way to Eden? I'll ask them there, have they a job for me. I'm not a fussy man, I can weed and hoe. I'll be her Adam, she can be my Eve. And where on earth are all those songs of Eden. The fairy tales, the shepherds and wise men. Just one old dosser lurching down Oxford Street to spend his Christmas lying in the rain. Don't anybody know the way to Eden. I'm tired of living my life in free-fall. They say it's somewhere out on the edge of town. Perhaps it isn't really there at all.
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Post by maddogfagin on Jan 28, 2014 9:18:06 GMT
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Post by Equus on Jan 28, 2014 18:51:38 GMT
Wow! Great video Mad Dog Fagin! (Fly By Night)
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Post by maddogfagin on Jan 28, 2014 19:00:02 GMT
Wow! Great video Mad Dog Fagin! (Fly By Night) It's rather good I thought.
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Post by Equus on Jan 28, 2014 19:23:10 GMT
Wow! Great video Mad Dog Fagin! (Fly By Night) It's rather good I thought. Great that there are people out there who give it their best shot! Every Tull/Ian... tune deserves a video, or two...
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