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Post by nonrabbit on Mar 28, 2012 20:23:42 GMT
You are not the first woman to tell me that. Oh aye and how many Scotswomen have you known?
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Post by steelmonkey on Mar 28, 2012 20:33:26 GMT
uh...the next will be the first.
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Deleted
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Post by Deleted on Mar 28, 2012 21:04:26 GMT
TAAB2 - Listening to the first seven tracks that are available on YouTube at the moment.
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Post by steelmonkey on Mar 28, 2012 21:49:01 GMT
I'll do so later this same evening...no kid, no other promises, no joke !
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Post by nonrabbit on Mar 29, 2012 6:24:26 GMT
Latest review this one from Annular Media. "The composition of this album is complex, deep and technically expert. Ian Anderson/Tull fans will love this and it should open up a whole set of new listeners; it's songs are timeless. This album is here to stay. I hope that we don't have to wait another 40 years for the next installment, and I hope that I'm still around to listen to it. Epic!" annularmedia.blogspot.co.uk/2012/03/ian-anderson-thick-as-brick-2_26.html#
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Post by maddogfagin on Mar 29, 2012 7:50:06 GMT
Latest review this one from Annular Media. "The composition of this album is complex, deep and technically expert. Ian Anderson/Tull fans will love this and it should open up a whole set of new listeners; it's songs are timeless. This album is here to stay. I hope that we don't have to wait another 40 years for the next installment, and I hope that I'm still around to listen to it. Epic!" annularmedia.blogspot.co.uk/2012/03/ian-anderson-thick-as-brick-2_26.html# We'll probably have to wait that long. IA will be 104 and the title will be Thick as a . . . er, sorry can you remind me?
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Post by maddogfagin on Mar 29, 2012 7:57:50 GMT
I love it. Can't wait for the CD next week! Listened to it before I went to work last night. Even the couple of songs I originally though "ho hum" are now really growing on me. As to whether the current line-up are up to the job - yes they are in my estimation.
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Post by nonrabbit on Mar 29, 2012 14:30:21 GMT
Here's a thought for the yays and nays;
I don't think anyone expected a TAAB2 ever!!
So do you think you would have been happy with this offering (or something near to it) say five or ten years after the original? Putting to the side, of course, the fact that Martin's not on it. It is possible that Ian might have come up with the idea of speeding up Gerald's life and wondering what he might have become.
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Essan
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Post by Essan on Mar 29, 2012 16:54:13 GMT
Here's a thought for the yays and nays; I don't think anyone expected a TAAB2 ever!! So do you think you would have been happy with this offering (or something near to it) say five or ten years after the original? Well in places it reminds me of Heavy Horses and I could definitely imagine this album coming out in the late 70s. Assuming it were a Tull abum with the lineup of the time, so sounding a little different and, moreover, with Ian's vocals a bit different to they way they sound today, I think yes. On a different note, had an email from Amazon UK this afternoon to say my CD is in the post - should get it at the latest on Monday, or with luck maybe even Saturday before it hits the shopes
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Post by steelmonkey on Mar 29, 2012 17:00:10 GMT
Make sure they play the thing at my funeral if i get hit by a car or lightning or something over the weekend, okay ?
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Post by nobodyspecial on Mar 29, 2012 17:04:22 GMT
No, I didn't expect it or ask for it. Based on the listeneing for me up to this point - I'd say 'no'. Besides, this would not be how it would have sounded then, would it? It is now, and the fact is, the idea was pushed, thrown, cajoled, whatever at IA and he did it, complete with consideration for song-breaks to the i-Tunes crowd. Perhaps not what I would dare to say to be the 'normal' IA method of creating new music.
This is a hard sale for me generally, and I really don't care that there hasn't been 'new' music from him either. From what I've heard at this point it's an average Ian Anderson album, never mind it's his 'solo bands' first recording effort. For me, there are a lot of things to consider about this whole thing other than the seemingly instant gratification by many so far. IF it were a JT release, I may be a bit more inclined but I'm in no such hurry either way.
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tullist
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Post by tullist on Mar 29, 2012 17:09:21 GMT
That ending? Both well earned and well met. To my perceptions, as has ever been the case with the endearingly organic development of Ian Anderson's directives, this could only have come out in 2012, featuring his development right to this moment. As with any other release I can think of involving Ian Anderson, even those distressing to me featuring instrumental developments, re sequencers and synthesizers particularly of the early and mid eighties, it can be described as timeless. Doubtless not a popular opinion, but I still hold that Ian is too good for most of his audience, both in his development as a man, and in his craft. All I ever need to do is throw on one of my 200 or so live shows, particularly in America and particularly in the seventies, (though now the beligerent shouting is replaced oft times by the equally annoying sound of people literally talking throughout entire shows, maybe holding out for the snot part)to see this inarguably born out. Additionally all I have to do is look at the other musical interests of alot of the audience, to note that they simply lack the musical breath to deal with all of Ian Anderson's construct of 43 years, particularly where it slips away from the comfort zones of classic rock or prog. And nearly to a one people not old enough to truly have known the milieu that gave Tull birth, something that I assure you has not been repeated, a junk food culture. Even in the case of Martin Barre, and, trust me, I welcome the day of his return, I felt it necessary some months back to come to the defense of Florian, as I would read the usual ill informed commentary of Ian hiring the cheapest musicians available. And frankly, having a run thru Martins musical interests on his page, I would hardly be surprised to find that he is not a fan of most of Tulls music at all, brilliant though he has been. With notable exceptions I recall like Fairport, maybe Willie Porter or Bert Jansch, it was a roll call of average where I really believe he would have been happier as the guitarist for Bad Company or someone. Sorry if the only classical composer you mention is bloody Elgar, I know u ain't happenin' in that field. Yeah I know he did a few credible things, but the classical equivalent of maybe the Guess Who. Even Ian, and in part because jazz music has meant so much to me for as long as Tull has, as credible as the likes of Mose Allison and Roland Kirk are and were, (pretty nearly the only 2 jazz musicians I have heard Ian to have paid lip service to) they would not crack the top 100 most important musicians in that honored field. But there is something innate in that mans spirit and world perception that remains highly potent.
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Post by steelmonkey on Mar 29, 2012 17:36:06 GMT
I dunno Ray...listen to "Kind of Blue' then find an old turntable with 16rpms still on it and listen to APP at that rate...then Dark Star...just for fun
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Post by maddogfagin on Mar 29, 2012 17:44:23 GMT
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Post by maddogfagin on Mar 29, 2012 18:02:49 GMT
Make sure they play the thing at my funeral if i get hit by a car or lightning or something over the weekend, okay ? Will do. Are you expecting anyone around for afternoon tea this weekend?
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rainbowblue
Journeyman
How can you blame me for the things that I do.
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Post by rainbowblue on Mar 29, 2012 18:12:01 GMT
There are many excellent points on both sides of this debate. If I may offer my perspective. Bear with me if I ramble.
As a daily visitor to JT.com, I would be frustrated with no new info on a Tull album. Over time, I became convinced that Tull was "on ice", probably forever. Tull always were and always will be a band, not a vehicle for solo works. I have never given Ian`s and Martin`s solo work the proper listen. In interviews they both seem to scoff at the things that made Tull great (Ian`s concepts, Martin`s solos, partictularly the intro to Minstral. When I read about TAAB2, my eyes fell out of my head. Ian, who always seemed embarrased about that era, was doing a sequel to TAAB. I`m afraid I got caught up in the euphoria.
Reflecting on it now, I agree, this is not TAAB2. This album is about the "author" of TAAB`s later life. I wanted it to sound like Tull, but it is not Tull. No Martin. A lot of people can`t get past that. I understand, I haven`t got over John, Barrie and David (Dee) getting sacked. It is what it is. It`s an album that`s better than 99.9% of the music that`s being made today.
What if this was a JT album? Aside from Martin, it would still be the same musicians Ian uses on his solo albums. If you want to hear vintage Tull, pop a CD in your stereo.
As far as Ian`s thought that he has to look at the marquee to see if it`s a JT or a IA solo concert, it works both ways. As Jethro Tull is Ian Anderson to many, Ian Anderson is Jethro Tull to many more.
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Post by maddogfagin on Mar 29, 2012 18:16:35 GMT
Even in the case of Martin Barre, and, trust me, I welcome the day of his return, I felt it necessary some months back to come to the defense of Florian, as I would read the usual ill informed commentary of Ian hiring the cheapest musicians available. Florian's on a hiding to nothing really. If he'd copied Martin's style exactly he would have been always referred to as a clone and if he'd done his own "guitar god" thing then he'd have been accused of ruining the Tull sound. If you've ever seen Florian in concert with IA then you'd really appreciate the man's guitar virtuosity. Stikes me he's chosen a middle path; some Martin style riffs with some of his own style. Think the anti Florian brigade can't see beyond Martin and allow IA to create his own music. And yes, I want Martin to get back into the fold but if he chooses not to then Florian's ok by me.
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tullist
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Post by tullist on Mar 29, 2012 18:17:04 GMT
I dunno Ray...listen to "Kind of Blue' then find an old turntable with 16rpms still on it and listen to APP at that rate...then Dark Star...just for fun Why would I want to? Setting aside the 3 hour time commitment. Never was the type to play stuff backwards, look for hidden messages, believe Paul was dead even with the 66 indicators, or even put much creedence in 911 conspiracies. Assassanations, at least in the USA in the past 50 years, I put creedence in nearly all of those however, starting with the pure patriot Malcolm X. And I believe nothing has changed. I believe if our president is re elected, and the House is won back, stands an even chance of being murdered, as I believe the next term will show him unsheathed, moving for a place of honor alongside FDR and JFK, and thereby, very much a marked man. This time the detractors will have something to complain at as regards assessments of Socialist or Communist (I wish)precisely as FDR did. As to Kind of Blue, the largest selling jazz record in history, (assuming one discounts Us3's Cantaloop, highly jazz inflected hip hop song from 20 years ago, somewhat annoyingly the biggest seller in the history of the 75-80 year old Blue Note catalogue, jazz musics most revered label) I suspect that somewhere around two thirds of the people who own it own it as a showpiece, with no other jazz records,could not have heard it without wanting to know more, through all the hype it remains a front to back golden moment. But this is Miles Davis I am talking about. One of several he happened upon. I know the prog crowd will glom onto Bitches Brew in much the same way. A credible record for the most part, but probably about number 45 in terms of importance for that guy. Even among his electric late 60's and 70's work, probably only about sixth in importance, behind Jack Johnson, Dark Magus and Aghartha for sure, but can be demanding listens, with the devil and the bliss forced to dance together, familiar terrain for Passion Play lovers, but I believe more eloquently stated by Miles. though not many safe spots. How folks can truly hear all that music, and then go back to 90 percent of prog is simply not believable to me. One cancels the other out on the simple account of being REAL.
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Post by steelmonkey on Mar 29, 2012 18:24:32 GMT
Guilty as charged: I own : Kind of Blue, Giant Steps and two Django Rheinhardt CDs to impress girls or at least have something to put on when anything else might distract from procreation activities....and I own joni Mitchell's Blue for the sole purpose of convincing suitable partner to consider me for procreation or practice of same.
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tullist
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Post by tullist on Mar 29, 2012 18:39:05 GMT
Guilty as charged: I own : Kind of Blue, Giant Steps and two Django Rheinhardt CDs to impress girls or at least have something to put on when anything else might distract from procreation activities....and I own joni Mitchell's Blue for the sole purpose of convincing suitable partner to consider me for procreation or practice of same. Same damn thing with Trane re Giant Steps. Its that one, A Love Supreme and Blue Trane that are usually set forth as his greatest accomplishments, and, in short, they're not. Relatively short career as a leader, maybe 10 years, but about 10 suggested stops prior to those. I think part of the appeal of those 3 fine records, is they have the coolest covers and album titles, but, with arguably America's finest musician in any field ever, it should be first about the music.
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Post by nobodyspecial on Mar 29, 2012 18:53:18 GMT
I have heard FO in the solo concerts and I as well as some decent musical players along at those times always walk away without much of an impression. I keep trying, really, to 'warm-up' to his playing, but, all I hear is someone that reminds me of PJV only with a guitar. Talented but a bit to over the top. I just watched his 'fugue' solo from 2011 on youtube, and again I just listen and say to myself - no subtlety, plays fast with as many notes thrown in as possible, his phrasing hard, and many of his breaks are hard and sometimes 'choppy'.
Ian has picked a guitar player he likes, for whatever reason, good for him. But if I don't 'hear it', I'm not going to like it just because he's playing with IA... 'he must be really good, he's playing with IA'.
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Post by nonrabbit on Mar 29, 2012 18:53:30 GMT
No, I didn't expect it or ask for it. Based on the listeneing for me up to this point - I'd say 'no'. Besides, this would not be how it would have sounded then, would it? It is now, and the fact is, the idea was pushed, thrown, cajoled, whatever at IA and he did it, complete with consideration for song-breaks to the i-Tunes crowd. Perhaps not what I would dare to say to be the 'normal' IA method of creating new music. This is a hard sale for me generally, and I really don't care that there hasn't been 'new' music from him either. From what I've heard at this point it's an average Ian Anderson album, never mind it's his 'solo bands' first recording effort. For me, there are a lot of things to consider about this whole thing other than the seemingly instant gratification by many so far. IF it were a JT release, I may be a bit more inclined but I'm in no such hurry either way. I like both of your points 1. I wonder for an old codger like Ian who's been making music for decades if he found this "pressure" of creating restricting or different in any way? I'm not saying it necessary sounds that way because I am reserving my hearing till the day!! 2. A JT release - is that simply just Martin being there?
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Post by nonrabbit on Mar 29, 2012 18:58:41 GMT
There are many excellent points on both sides of this debate. If I may offer my perspective. Bear with me if I ramble. As a daily visitor to JT.com, I would be frustrated with no new info on a Tull album. Over time, I became convinced that Tull was "on ice", probably forever. Tull always were and always will be a band, not a vehicle for solo works. I have never given Ian`s and Martin`s solo work the proper listen. In interviews they both seem to scoff at the things that made Tull great (Ian`s concepts, Martin`s solos, partictularly the intro to Minstral. When I read about TAAB2, my eyes fell out of my head. Ian, who always seemed embarrased about that era, was doing a sequel to TAAB. I`m afraid I got caught up in the euphoria. Reflecting on it now, I agree, this is not TAAB2. This album is about the "author" of TAAB`s later life. I wanted it to sound like Tull, but it is not Tull. No Martin. A lot of people can`t get past that. I understand, I haven`t got over John, Barrie and David (Dee) getting sacked. It is what it is. It`s an album that`s better than 99.9% of the music that`s being made today. What if this was a JT album? Aside from Martin, it would still be the same musicians Ian uses on his solo albums. If you want to hear vintage Tull, pop a CD in your stereo. As far as Ian`s thought that he has to look at the marquee to see if it`s a JT or a IA solo concert, it works both ways. As Jethro Tull is Ian Anderson to many, Ian Anderson is Jethro Tull to many more. As you say there's so much involved in this so "rambling" is obligatory I wonder if calling it TAAB2 was a mistake?
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Post by nobodyspecial on Mar 29, 2012 18:59:51 GMT
I'll take, one of my favorite Coltrane, "Coltrane Plays the Blues", and "Thelonious Monk and John Coltrane", and Roland Kirk's, "The case of the Three-sided Dream". Davis was also one my early fav's, but after a while he faded for me. I always thought that the sax didn't have enough notes for Coltrane - he died to early - I've often wondered how he would have evolved.
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Post by nobodyspecial on Mar 29, 2012 19:18:43 GMT
IF it were a JT album; I mean the lineup of DP, MB, IA, JN, AG. (although DG is an excellent bass player) I think the way this whole idea for TAAB2 as said by IA, contibutes to whether or not, if done purely on his own, would have resulted in a continual piece instead of the segmented concept is an open question.
For what it's worth; I've basically been waiting for some type of 'event' that would solidfy for me that JT may not be buried, but that a hole seems to have been dug. This started a couple of years after the last JT album and was furthered by the 'rehash JT tours'. This solo band sound doesn't challenge me, it's good, but there is little there to hold my attention.
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tullist
Master Craftsman
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Post by tullist on Mar 29, 2012 19:28:10 GMT
I have heard FO in the solo concerts and I as well as some decent musical players along at those times always walk away without much of an impression. I keep trying, really, to 'warm-up' to his playing, but, all I hear is someone that reminds me of PJV only with a guitar. Talented but a bit to over the top. I just watched his 'fugue' solo from 2011 on youtube, and again I just listen and say to myself - no subtlety, plays fast with as many notes thrown in as possible, his phrasing hard, and many of his breaks are hard and sometimes 'choppy'. Ian has picked a guitar player he likes, for whatever reason, good for him. But if I don't 'hear it', I'm not going to like it just because he's playing with IA... 'he must be really good, he's playing with IA'. I tend to agree, were I veer away is the perception that he is very much Martin Barre's inferior, a rampant notion in Tull land. Lord knows I have heard several over the top solos by Martin, particularly in the early days, which in retrospect I find pretty wretched. Now if I were to name my ten favorite guitarists, there would be very few of the rock gods included, Martin would make the list for similar reasons as to why Ringo makes my drummer list, other than Jimi Hendrix and Jerry Garcia no one else from that world would, though I spose Richard Thompson and John Renbourn are within calling distance of the rock world. Most of the Steve Howes, Eddie Van Halens, Jimmy Pages of the world I believe are played under around and above the table by your average recording classical guitarists, strictly one mans opinion. They both have been blessed by coming under the direction of what I believe to be a long time master composer and colorist, bearing close comparison to Duke Ellington on that account. Somebody like Duke's longtime alto sax, Paul Gonsalves, would generally not make the list of the top 50 sax players in jazz, though a couple of Dukes other sax players would. Nevertheless he is the author of some very famous solos, not unlike Martin with his Aqualung solo, I believe both these individuals benefitting greatly from who's baton they were under. And you damn sure need to play a piece to play with Ian Anderson. Even now I get a little annoyed, couple with fully what I expect, with a reference recently read of the 1980 "sacking" Never mind the heavily regurgitated facts of the situation, with each and every one of those individuals leaving of their own accord, certainly John Evan and Barrie Barlow. And as to David Palmer, I believe he did too, and regardless I can pretty much surmise that the two Tull players historically who are likely to be actual friends of Ian are Palmer and Jeffrey. All these years it just baffles me, especially where compared against other interests like the Grateful Dead,where there is mention of notions as far afield as "Jerry Christ" of the utter scorn Ian Anderson meets with in much of his fan base, with people speaking of him as if they know him, when not the first one, even David Rees does, nor do I suspect many of the people who have played within the band.
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Post by nobodyspecial on Mar 29, 2012 19:31:12 GMT
For 'tullist', Another excellent player often never mentioned was Les Paul, he was so smooth and could play so many things. At times I tend to think IA saw MB as a raw, and somewhat shapeable talent,,,or at least, he saw/heard something that would allow an open style of playing to be available that would be less restrictive towards the development of JT music.
There is another guitar player who was famous as much for what he played as he was for passing away almost as soon....that was, Danny Cedrone, who played with Bill Haley for a really short time - his was the playing on 'Rock Around the Clock', and what I thought was even better playing on the song 'Thirteen Women'. He recorded that in 1954 and died shortly after.
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tullist
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Post by tullist on Mar 29, 2012 19:41:41 GMT
For 'tullist', Another excellent player often never mentioned was Les Paul, he was so smooth and could play so many things. At times I tend to think IA saw MB as a raw, and somewhat shapeable talent,,,or at least, he saw/heard something that would allow an open style of playing to be available that would be less restrictive towards the development of JT music. There is another guitar player who was famous as much for what he played as he was for passing away almost as soon....that was, Danny Cedrone, who played with Bill Haley for a really short time - his was the playing on 'Rock Around the Clock', and what I thought was even better playing on the song 'Thirteen Women'. He recorded that in 1954 and died shortly after. Digness. Love to hear Tull fans tell me something musical that does not begin with prog. And even in 2012 I could still probably name 30 prog pieces I still really like, many from Renaissance, who in most, if not full part, have stood the test of time. Much Crimson has too. Additionally pleased to hear of a guy playing with Bill Haley. While I have always had a fondness for fifties American rock and roll, r and b, and certainly blues, that fondness has gotten stronger in the past 30 years. I consider myself a musical student of the world, but with one foot always planted firmly in one of its most potent veins, American music. And just by way of obscuro recommendations, to those who found appeal in Hendrix's Band of Gypsy's period, I would heartily recommend Sonny Sharrock's Ask The Ages, which I believe operates on a similar wavelength, and less overtly avant garde than many of his outings. Monster player, sometimes a difficult or at least challenging listen, but less so here, definitely recommended.
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Deleted
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Post by Deleted on Mar 29, 2012 21:28:36 GMT
Jethro Tull's Ian Anderson, this is certainly the most Tull like solo album. A nod to a fine guitar, & as always there is nothing to complain about the often amazing flute playing. Breathe in the air. After a feast on the first seven tracks, (I've heard the others once only), my wife and I are sold on this project. Not an album that necessarily benefits from song samples. In the spirit of Jethro Tull music this is an album for that attention deficit disorder. The many musical changes are always welcome, that's what Ian Anderson's Jethro Tull is all about. The nods to Tull past are great. I'm a happy ghost, we're happy ghosts. I get the feeling that my wife likes this even more than me, maybe. Two Tulls waiting for our 5.1 fix next week.
Take me on the ghost train. 20p and there you are. Scary in the tunnel night. White knuckle fingers on the safety bar. Which way to blue skies? Phantoms pop from cupboard doors. Mocking, manic laughter shrieks, dark promises of blood and gore.
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Post by nonrabbit on Mar 29, 2012 22:08:09 GMT
Fair to say then that this is first and foremost Ian Anderson with over forty years of musical maturity paying homage to Gerald Bostock and TAAB?
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