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Post by nonrabbit on May 18, 2016 9:51:06 GMT
i68.images obliterated by tinypic/wguaf5.jpg[/IMG] i63.images obliterated by tinypic/52z092.jpg[/IMG] If anyone ever comes across a pic of Dave Pegg in his jaunty pirate outfit - please post. Also,was is the latest on a possible re-release of B&TB?
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Post by bunkerfan on May 18, 2016 11:56:54 GMT
If anyone ever comes across a pic of Dave Pegg in his jaunty pirate outfit - please post. This is the nearest I could get. Any good?
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Post by bunkerfan on May 19, 2016 9:47:37 GMT
If anyone ever comes across a pic of Dave Pegg in his jaunty pirate outfit - please post. This is the nearest I could get. Any good? On second view I think I made the eye patch a wee bit too big. There that's better!
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Post by nonrabbit on May 19, 2016 11:35:19 GMT
Thats a Belter!!
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Post by JTull 007 on May 19, 2016 14:54:27 GMT
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Post by maddogfagin on May 19, 2016 17:51:17 GMT
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Post by nonrabbit on Jun 22, 2016 21:53:13 GMT
Don't think I've mentioned in a long while what an utterly fabulous song Seal Driver is. I must have listened to it hundreds of times and yet on listening to it now I've only noticed something that I've never heard before. At around 3.18 mark there's that little piece of Ian sound effect ( like the 'ping' of the typewriter in Pussywillow or the 'creak' of the old sign in Turnpike Inn) a ships bell intermittently in the background That and the other effects - the pace of the guitar on the swell of the music............ If you need more this is something I used to play at on Myspace - two videos played together one for sound effects and one for the song Play around with the volume on both. It's beautiful at the end of the song (Seal Driver) with the other video continuing with the creak of the ship and the seagulls playing on..... and you might want to watch the 'moon kissed sea' at the same time i65.images obliterated by tinypic/2j2cbk3.gif[/IMG] ~ follow white flecked spindrift ~~ float on a moon kissed sea ~ You've written some of the most romantic lyrics ever Ian ya' old (sea) dog!!
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Post by steelmonkey on Jun 22, 2016 22:15:07 GMT
The Ship Bell is a beautiful, perfect detail. I think it shows up live, as well.
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Post by rockodyssey on Aug 31, 2016 19:54:37 GMT
As I worked my way through Tull albums on the mezzanine floor of Tamworth Public library, none had a more appealing cover to an early-teenage boy than Broadsword And The Beast. Anderson represents himself as some kind of malevolent gnome, clutching the titular weapon. By this age I was into epic fantasy and had read Lord Of The Rings at least twice. The content is very appealing to that mindset too. All macho, epic stuff. Anderson was always looking for an excuse to dress up in quasi-mediaeval garb on stage and this provides plenty of opportunity. I’ve always assumed that the opening ‘Beastie’ is about fear and depression. I used to play this album in advance of my ‘O’Level exams. I found ‘Beastie’ (“Stare that Beastie in the face and really give him hell”), ‘Broadsword’ (“Bring me my Broadsword and clear understanding”) and ‘Slow Marching Band’ (“Walk on slowly, and keep on going”) very inspiring as ways of convincing me to have no fear and have confidence in myself (self-confidence had ebbed away during my time at secondary school). Tull have moved largely away from the more keyboard/electronic-led sound of ‘A’ (although ‘Watching You, Watching Me’ bucks the trend), this is definitely a rock album, which might explain the style of the cover, which does mirror the kind of stuff Iron Maiden and co were putting on their albums. On ‘Broadsword’ it took me a long time to work out that instead of “Childless Man”, Anderson was singing “Talisman”, either sort of makes sense in context although “Talisman” is clearly the right one. ‘Pussy Willow’ might be quite rude. I’m not sure. And ‘Seal Driver’ is a great fat lump of pompous rock. Nothing wrong with that though. It all ends with the low-key (and short) ‘Cheerio’. As hinted above, this is an important album from my youth, and it still sounds great.
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Post by nonrabbit on Aug 31, 2016 21:10:57 GMT
As I worked my way through Tull albums on the mezzanine floor of Tamworth Public library, none had a more appealing cover to an early-teenage boy than Broadsword And The Beast. Anderson represents himself as some kind of malevolent gnome, clutching the titular weapon. By this age I was into epic fantasy and had read Lord Of The Rings at least twice. The content is very appealing to that mindset too. All macho, epic stuff. Anderson was always looking for an excuse to dress up in quasi-mediaeval garb on stage and this provides plenty of opportunity. I’ve always assumed that the opening ‘Beastie’ is about fear and depression. I used to play this album in advance of my ‘O’Level exams. I found ‘Beastie’ (“Stare that Beastie in the face and really give him hell”), ‘Broadsword’ (“Bring me my Broadsword and clear understanding”) and ‘Slow Marching Band’ (“Walk on slowly, and keep on going”) very inspiring as ways of convincing me to have no fear and have confidence in myself (self-confidence had ebbed away during my time at secondary school). Tull have moved largely away from the more keyboard/electronic-led sound of ‘A’ (although ‘Watching You, Watching Me’ bucks the trend), this is definitely a rock album, which might explain the style of the cover, which does mirror the kind of stuff Iron Maiden and co were putting on their albums. On ‘Broadsword’ it took me a long time to work out that instead of “Childless Man”, Anderson was singing “Talisman”, either sort of makes sense in context although “Talisman” is clearly the right one. ‘Pussy Willow’ might be quite rude. I’m not sure. And ‘Seal Driver’ is a great fat lump of pompous rock. Nothing wrong with that though. It all ends with the low-key (and short) ‘Cheerio’. As hinted above, this is an important album from my youth, and it still sounds great. I love reading about how people made the same great discovery that I did all those years ago ie a new Tull album. It's well documented here about my love of Broadsword and like you say rockodyssey it's a rock album with a fantasy cover and that brought a lot of people back to the fold - myself included. Pirate, Nordic, swashbuckling Ian was rather sexy and his humour ( a feature of just about every album - maybe apart from Stormwatch?) stops it becoming naff* Seal Driver is a stonker!* *naff - cheesy *stonker - brilliant
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Post by steelmonkey on Sept 1, 2016 17:26:31 GMT
Seal Driver shows up on a lot of Tull fanatic's top ten lists.
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Post by nonrabbit on Jan 14, 2017 20:24:55 GMT
I'll say it again "Is B&TB getting rejigged? Oh I hope so for I will pay double nay thrice what Tull Inc will be asking to hear this; and this
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cecil
Journeyman
Posts: 162
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Post by cecil on Jan 16, 2017 2:35:49 GMT
I'll say it again "Is B&TB getting rejigged? Oh I hope so for I will pay double nay thrice what Tull Inc will be asking to hear this; and this
Let's hope. This album will benefit more than any other of the previous remixed albums. Remixed drum tracks will make a massive difference. There's 3 albums worth of tracks too.
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Post by JTull 007 on Jun 13, 2017 0:27:23 GMT
Video by alicesole I was at the Dalì exhibition in Milan At the end of the exhibition trail, it was possible to admire a short film ever filmed in Italy "Destino", a result of Dalí's collaboration with Walt Disney.
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Post by JTull 007 on Jun 13, 2017 20:34:07 GMT
Beautiful 1982 Italia TULL Poster by Fulvio Fiore
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Post by gunner on Mar 28, 2018 17:53:00 GMT
2 Questions regarding "Broadsword":
1. Does anyone know if Ian had originally planned "Broadsword" to be a double album?? While Ian is well known for writing extra material for each album the Tull has done, he went way overboard for "Broadsword." In fact, I think when you total up all of the songs, it's more than a double album's worth of material. Also, the outtakes are so good - many of them arguably better than some of the songs on the album itself. Why go through all that time and effort to record that many songs to completion unless your intention was to put out a double album???
2. Why was the outtake "Motoreyes" not included on the remastered CD version of "Broadsword."?? There was enough time on the CD to include it. It is a very rare song now as it was included on the now out of print "20 Years of Jethro Tull" box set. I realize there are other "Broadsword" outtakes like "Commons Brawl" and "No Step" that weren't put on the remastered CD, but you can get these songs on "Nightcap." I just felt it was strange that since the record label put all of the outtakes from the 20 Years box set on the "Broadsword" remastered CD that they didn't include "Motoreyes."
I cannot wait for the Steven Wilson remastered box set. We will finally get all of the songs in one place. It's possible there could be other outtakes in the vault as well.
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Post by rredmond on Mar 28, 2018 20:22:33 GMT
Hey gunner, great post. I have no idea about this one, but real interesting information.
Welcome to the forum!
Be well, --Ron--
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Post by maddogfagin on Mar 29, 2018 14:27:48 GMT
2 Questions regarding "Broadsword": 1. Does anyone know if Ian had originally planned "Broadsword" to be a double album?? While Ian is well known for writing extra material for each album the Tull has done, he went way overboard for "Broadsword." In fact, I think when you total up all of the songs, it's more than a double album's worth of material. Also, the outtakes are so good - many of them arguably better than some of the songs on the album itself. Why go through all that time and effort to record that many songs to completion unless your intention was to put out a double album??? 2. Why was the outtake "Motoreyes" not included on the remastered CD version of "Broadsword."?? There was enough time on the CD to include it. It is a very rare song now as it was included on the now out of print "20 Years of Jethro Tull" box set. I realize there are other "Broadsword" outtakes like "Commons Brawl" and "No Step" that weren't put on the remastered CD, but you can get these songs on "Nightcap." I just felt it was strange that since the record label put all of the outtakes from the 20 Years box set on the "Broadsword" remastered CD that they didn't include "Motoreyes." I cannot wait for the Steven Wilson remastered box set. We will finally get all of the songs in one place. It's possible there could be other outtakes in the vault as well. I don't believe that Broadsword was initially intended as a double album and the extra songs that were recorded and not used at the time, didn't fit in with IA's ideas of the general theme of the disc. In the booklet notes for the 2005 digital remaster IA wrote "The bonus tracks are from these same groups of sessions and, of course, could never have fitted with the temporal limitations of vinyl." As for further outtakes I'm sure that there are some hanging about in dusty tapes boxes in dark tape libraries but exactly what condition they are in is open to conjecture and for the listening pleasure of music historians in the future.
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Post by gunner on Mar 29, 2018 22:09:57 GMT
Well hopefully at some point the master tapes were converted to digital. Otherwise, yes, there can some real problems with old analog tape. Very often artists have needed to use ovens to bake the tapes to get them to come back to life and such.
Ian's quote in the remastered booklet sort of implies that if CD's had been the main medium in 1982, he might've included some of the outtakes on "Broadsword" but not all of them. I know the song "Overhang" is a major favorite of his. It's probably my favorite as well.
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Post by 61jtull on Apr 1, 2018 22:00:59 GMT
Well hopefully at some point the master tapes were converted to digital. Otherwise, yes, there can some real problems with old analog tape. Very often artists have needed to use ovens to bake the tapes to get them to come back to life and such. Ian's quote in the remastered booklet sort of implies that if CD's had been the main medium in 1982, he might've included some of the outtakes on "Broadsword" but not all of them. I know the song "Overhang" is a major favorite of his. It's probably my favorite as well. Interesting that Ian shifted gears on this album. It would be nice to see better information about the recording history(Album sessions) for this and other Jethro Tull albums that included recording dates. Many good songs from the Broadsword sessions were not used on the final release. I liked the album, but it was not as consistently strong as their earlier albums. Still, it has its moments, and is really the final Tull album with full-range vocals by Ian.
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Post by atomicsynth on Apr 2, 2018 18:33:37 GMT
Well hopefully at some point the master tapes were converted to digital. Otherwise, yes, there can some real problems with old analog tape. Very often artists have needed to use ovens to bake the tapes to get them to come back to life and such. 2" 24 track tends to age worse than 2" 16 track because the track width on 24 track is so small. 2 " 16 track tapes are always better regarding s/n and crosstalk. The best reel to reel format is 2" 8 track. Noise reduction isn't even needed at 30 ips, the dynamic range and tape saturation - compression sounds amazing. Jack White is an analog nut and records in that "Super 8" head stack configuration.
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Post by maddogfagin on Apr 5, 2018 6:31:32 GMT
Well hopefully at some point the master tapes were converted to digital. Otherwise, yes, there can some real problems with old analog tape. Very often artists have needed to use ovens to bake the tapes to get them to come back to life and such. Ian's quote in the remastered booklet sort of implies that if CD's had been the main medium in 1982, he might've included some of the outtakes on "Broadsword" but not all of them. I know the song "Overhang" is a major favorite of his. It's probably my favorite as well. Interesting that Ian shifted gears on this album. It would be nice to see better information about the recording history(Album sessions) for this and other Jethro Tull albums that included recording dates. Many good songs from the Broadsword sessions were not used on the final release. I liked the album, but it was not as consistently strong as their earlier albums. Still, it has its moments, and is really the final Tull album with full-range vocals by Ian. I remembered that I had this photo on my hard drive of the "tape library" when the Andersons lived in Buckinghamshire, 20+ years ago. This image was from one of the very early old style Tull web pages and the store was located in an outbuilding/office at the farm associated with Pophleys. I went there to see Kenny Wylie and to pick up a signed drum skin for one of the early UK Tull Conventions and I did ask Kenny if I could have a look around but he said "NO" ! Shame really as I would have liked to have spent a few hours rummaging around
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Post by futureshock on Jan 29, 2019 4:47:14 GMT
Definitely an album generally under-rated in North America. It's maybe another complete attempt at a album-length blend of music and material loosely but successfully hovering about an identifiable theme or concern. Once again the 45-minute limitation of the vinyl format of the day forces the artist into cutting some music and making final selections under impeding technical pressures rather than artistic preferences.
I have the same concern with the 90-minute format for the common theatre movie. I think most movies would be much better off as three hour works or 120 minutes; the 90 minute version with further time for the complete development of scenes, characters and storyline. SO much better! The 90-minute movie has suffered from hatchet job editing since it began. Storytelling often can't happen in 90 minutes. In parallel, Broadsword as a double album would have been a better option for the fans, now that we know so much extra music was going on anyway.
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Post by maddogfagin on Jan 29, 2019 7:47:08 GMT
Definitely an album generally under-rated in North America. It's maybe another complete attempt at a album-length blend of music and material loosely but successfully hovering about an identifiable theme or concern. Once again the 45-minute limitation of the vinyl format of the day forces the artist into cutting some music and making final selections under impeding technical pressures rather than artistic preferences. I have the same concern with the 90-minute format for the common theatre movie. I think most movies would be much better off as three hour works or 120 minutes; the 90 minute version with further time for the complete development of scenes, characters and storyline. SO much better! The 90-minute movie has suffered from hatchet job editing since it began. Storytelling often can't happen in 90 minutes. In parallel, Broadsword as a double album would have been a better option for the fans, now that we know so much extra music was going on anyway. It would have been great to have had this album as a double when it was released and I did read somewhere that it was the idea to do that but it was culled to include only the relevant songs. It sold very well in Germany and other parts of Europe and it stands up well in 2019 imo.
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Post by tullpress on Jan 29, 2019 23:14:22 GMT
What I wonder about that large batch of songs -- given the band's habit of recycling / re-recording older material -- is :
maybe a fair few of these Broadsword outtakes were first recorded with the 'A' line-up, and were finished compositions that IA decided to re-work with the new band in case they were suitable for the new album.
In which case .... etc.
A
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Post by JTull 007 on Jan 30, 2019 1:37:45 GMT
This would be very cool to wear on a motorcycle or any occasion
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Post by maddogfagin on Apr 23, 2019 6:22:16 GMT
somethingelsereviews.com/2019/04/22/paul-rodgers-journey-jethro-tull-shadows-in-stereo/Playing the Long Game With Journey, Jethro Tull + Paul Rodgers: Shadows in StereoAPRIL 22, 2019 BY JC MOSQUITO . . . . . . On the other hand, it’s possible for an artist to find commercial success harder to come by after a relatively successful early start. Such could be argued was the case for Jethro Tull, who saw their commercial fortunes peak in the 1970s. They continued to be a working band into the 1980s and beyond, but that decade saw a mishmash of releases and styles that made it hard for a casual fan of the group to keep up.
The initial release of the decade, an album simply titled A from 1980, was originally slated to be a solo effort from leader Ian Anderson. It ended up being credited to Jethro Tull, which was interesting as almost all the band’s members differed from those who appeared on the previous album. Then, there was a return to their previous folk-rock approach on 1982’s The Broadsword and the Beast, except with synthesizers thrown into the mix. Soon followed Under Wraps (1984), done with a drum machine.
The decade ended with two more or less mainstream rock releases, Crest of a Knave (1987) and Rock Island (1989), the former mysteriously winning the freshly minted Grammy category best hard rock / metal performance over other acts such as Metallica and AC/DC.
There’s no question that these albums covered a lot of different styles and approaches, and that fact itself goes a long way towards explaining why songs that come from this era aren’t usually familiar to the average music fan. And that’s too bad, because there’s some decent material here if one cares to go looking for it.
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Post by aztullfan on Oct 29, 2019 21:36:02 GMT
Well hopefully at some point the master tapes were converted to digital. Otherwise, yes, there can some real problems with old analog tape. Very often artists have needed to use ovens to bake the tapes to get them to come back to life and such. Ian's quote in the remastered booklet sort of implies that if CD's had been the main medium in 1982, he might've included some of the outtakes on "Broadsword" but not all of them. I know the song "Overhang" is a major favorite of his. It's probably my favorite as well. Interesting that Ian shifted gears on this album. It would be nice to see better information about the recording history(Album sessions) for this and other Jethro Tull albums that included recording dates. Many good songs from the Broadsword sessions were not used on the final release. I liked the album, but it was not as consistently strong as their earlier albums. Still, it has its moments, and is really the final Tull album with full-range vocals by Ian. I agree with this 100%. I liked several of the later Tull albums(Crest of a Knave & Roots to Branches especially), but it seems like Ian's voice/vocals greatly diminished after this album. Really enjoyed the extra tracks from these recording sessions, but I can see Ian's point about not working as well with album's theme. Really hope that Steven Wilson will do his remixing magic on this and we'll see a full collection of all the session material.
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Post by nonrabbit on Dec 29, 2019 21:08:11 GMT
random thoughts from a Tullfan I was listening to this album today - possibly my second favourite album although after the first choice it gets even more complicated, anyhoo - the songs and his voice are just so beautiful. Wanted to share that Tull feeling. haha the same feeling that inspired that post 5 years ago has brought me back here again today.
Apart from it being a beautiful album,it was the one that brought me back to the fold. I'd love to hear a new arrangement - live, of some of the songs.
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Post by jackinthegreen on Jan 2, 2020 0:29:59 GMT
random thoughts from a Tullfan I was listening to this album today - possibly my second favourite album although after the first choice it gets even more complicated, anyhoo - the songs and his voice are just so beautiful. Wanted to share that Tull feeling. haha the same feeling that inspired that post 5 years ago has brought me back here again today.
Apart from it being a beautiful album,it was the one that brought me back to the fold. I'd love to hear a new arrangement - live, of some of the songs. I love the album too nonrabbit, the track "Flying Colours" never gets a mention. but such a great song, but it's all good Happy New Year
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