Andy Johns, the producer and recording engineer who worked on landmark albums by the Rolling Stones, Led Zeppelin and Jimi Hendrix, died yesterday after a brief stay in the hospital. He was 61. No cause of death was available, but hard-rock guitarist Stacy Blades told Billboard he had been working with Johns until the producer went to the hospital last week with an unspecified liver ailment.
Johns, the younger brother of noted producer Glyn Johns and uncle to Ethan Johns, engineered some of the most beloved albums of all time. His credits include four Rolling Stones albums, including Sticky Fingers and Exile on Main Street; and six Led Zeppelin albums including Led Zeppelin II, Led Zeppelin IV and Houses of the Holy; along with recordings by Blind Faith, Ten Years After and Free. Johns also produced albums by Jethro Tull, Humble Pie, Television and Van Halen.
500 Greatest Albums of All Time: The Rolling Stones, 'Exile on Main Street'
Born in Surrey in southeastern England, Johns had initially wanted to be a bass player before following his brother into the recording business. He started as a tape operator at Olympic Studios in London, where he contributed to sessions for Axis: Bold as Love by the Jimi Hendrix Experience.
After working with the Stones, Zeppelin and more, Johns moved to Los Angeles in the Seventies, where he collaborated with a diverse assortment of artists, from Joni Mitchell to Ozzy Osbourne. In more recent years, Johns had worked on recordings by L.A. Guns, Godsmack and Chickenfoot.
As word of Johns' death spread, musicians paid tribute online, with Slash tweeting that Johns was "1 of the great engineer/producers of our time." Brian May of Queen wrote on his website that Johns was a "lovely guy – patient, skilled, funny, encouraging, sharp . . . all the qualities you want in someone who is getting your music on to tape."
------------------------------------------------------------------>>>QUOTE: I’ve been all digital now for quite some time. I haven’t recorded an album on multi-track tape since, oh I don’t know five or six years ago I guess. With Steve Miller, he brought in all this tape and we started that way, but about half-way through he said, “f**k it Andy it takes too much time, let’s just do it in Pro Tools.” I said fine, because the drums were just banged over to Pro Tools and it ended up sounded great. I actually got an email from Roadrunner records saying that it was one of the best sounding albums they’ve heard in a while, which is unusual because they don’t usually bother. I’m happy enough with Pro Tools, and it sounds great, as long as you don’t use it as a crutch it’s great.
I’m happy with the sound of tape, but a lot of people who haven’t used tape much say to me, “Andy back in the day when you were using tape didn’t it warm up the sound?” Well, no it didn’t, it didn’t do anything to the sound. In fact, more often than not you were struggling with the multi-track machine to get it to sound identical when you AB’ed it. If you’re overdubbing guitar and vocal for instance you don’t hear much of a difference. It’s only when you do everything together that the top end is a little more electronic. But I’ve done things digitally that I’m very happy with and they keep getting it better all the time. Tape technology can be very dodgy. The number of times that I had problems with tape machines over the years is innumerable. - Andy Johns
Michael Workman doesn’t trust happy people. There’s too much to be depressed about. Rumour has it he’s splitting the room at Barry’s Judges meetings and that’s what good stand-up should do: polarise, stupefy and get a strong cerebral reaction. Our critic Simon Plant applauded Workman in his 4 star review for fitting a seagull and Jethro Tull into one of his poems. Strong stuff. Death becomes him.
Read the full review of Michael Workman's "Ave Loretta" Elsewhere, this wordsmith manages to weave seagulls and Jethro Tull into one joyous sentence.
Last September the group completed its first studio album in 12 years, "Grandine il Vento." The album was released to celebrate the band's 40-year history and included a guest appearance by Jethro Tull's front man, Ian Anderson. It features Renaissance's signature mixture of folk, classical and rock, and was supposed to propel a comeback for the band. But in November the group's principle composer/guitarist, Michael Dunford, died. Annie Haslam, the band's lead vocalist and lyricist questioned whether the band would continue.
Tobias: You’re right; they are and thanks for the compliment. I think that the various influences every single one of us brings into the band make out the sound we are able to present. They start in a good sense for Scandinavian black metal we all share (like Dimmu Borgir, Immortal, Emperor) run through melodic death (In Flames, Soilwork), more modern stuff like Killswitch Engage, more moderate bands like The Gathering (early years) and some progressive music like Neal Morse. But that’s now just a short glimpse at some of my faves. But Tentakel surely would like to mention some more, right?
Tentakel: Just let me add that I for once, with being born in 1980 AND my old man owning an impressive collection of vinyl, was able to still inhale a good amount of 70′s rock such as Pink Floyd, Genesis, Colosseum, Jethro Tull, Iron Butterfly, and the like: music from which I draw strength even today and which shows in my other preferences, the aforementioned The Gathering and Enslaved being two of them. Which doesn’t mean I can’t also appreciate such beautiful and technical brutality as with the new Fleshgod Apocalypse.
Jethro Tull played the Boston Tea Party on this night in 1969. How many times had they played in Boston before that?
Answer: 3 times
Here’s the rest of today’s Rock N’ Roll Diary!
1964: Two American record companies, Capitol and Vee-Jay, settled their dispute over Beatles recordings. Capitol was allowed to release all Beatles music in the future. Veejay was given the right to re-release the music it had, which was essentially the Introducing The Beatles album. That Vee-Jay music was repackaged several times… 1970: The world’s greatest band called it quits when Paul announced he was leaving The Beatles… 1973: Queen had its debut performance in at The Marquee in London… 1992: Comedian Sam Kinnison was killed when a pickup truck slammed into his car on a desert road between Las Vegas and Los Angeles… 2001: A representative for British pop star Robbie Williams denied reports that the singer was joining Queen. The band and Williams had collaborated on a remake of the Queen hit “We Are the Champions” for the movie A Knight’s Tale, which prompted the rumors… From the WZLX ticket stash…Jethro Tull was at the Boston Tea Party in 1969…In 1974, Bruce Springsteen played Joe’s Place in Cambridge. That was the night that he met John Landau, the music journalist who came up with that famous quote, “I saw rock and roll future and its name is Bruce Springsteen…”
11:30am Monday 15th April 2013 in Freetime latest news By Kevin Bryan
David Bowie, "Aladdin Sane" ****
The eagerly awaited follow-up to Bowie's groundbreaking "Ziggy Stardust" first saw the light of day in April 1973 and served up an urgent and compelling musical menu for his rapidly expanding army of glam-rock devotees, with the addition of pianist Mike Garson to the endlessly innovative performer's backing band lending a little New York inspired edginess to the proceedings.
"Drive-In Saturday" and "The Jean Genie" would both soar into the higher reaches of the UK singles charts, and they share the limelight here with self-penned gems such as "Panic in Detroit," "Cracked Actor" and the wistfully dissonant title tune.
Out now (Parlophone DBAS 40 : £10.75)
The Pirates, "Land of the Blind" ***
Mick Green first joined The Pirates in 1962 and the demon guitarist was still doing his best to keep the band's name alive when he assembled this patchy collection in 1996, recruiting a workmanlike but uninspired Swedish rhythm section to underpin his efforts.
"Land of the Blind" found Green sharing the vocal duties with bass player B.J.Anders on a string of largely underwhelming hard rock ditties, although the trio were able to inject a little more sound and fury into their covers of Allen Toussaint's "Fortune Teller" and Billy Fury's "Wondrous Place."
Released on May 6th (Angel Air SJPCD 418 : £11.69)
Midge Ure, "The Works" ***
Midge Ure's solo career tailed off rather alarmingly after his debut single "If I Was" topped the UK charts in 1985,and the former Ultravox frontman seems to be something of a forgotten figure these days,so the appearance of this new 2 CD anthology should help to remind listeners of his undoubted qualities as a writer and performer.
Ure's post Ultravox output is captured in all its charmingly dated glory here ,including synth-laden re-vamps of Bowie's "The Man Who Sold The World" and Jethro Tull's "Living in the Past" and a live version of Visage's 1980 hit, "Fade To Grey."
Out now (Music Club Deluxe MCDLX 184 : £4.57)
Il Giardino Armonico, "Vivaldi: The Four Seasons etc." ****
Milan's Il Giardino Armonico specialise in performances of 17th and 18th century music utilising period instrumentation,and this 1995 recording finds them lending an aura of authenticity to Vivaldi's ever popular "Four Seasons."
This evocative series of violin concertos had languished in total obscurity for a century or more after the composer's death in 1741 but that certainly isn't the case in 2013, although much of the prolific Venetian's impressive body of work does still remain relatively under-exposed today.
Out now (Warner 2564 64763 0 : £9.76)
"100 Hits-Guitar Heroes" ****
This remarkably wide-ranging 5 CD set brings together some very unlikely bedfellows in an inexpensive celebration of the diverse delights of the acoustic and electric guitars.
Bona-fide classics such as Deep Purple's "Smoke On The Water" and Eddie Cochran's "Summertime Blues" sit snugly alongside impressive archive offerings from Captain Beefheart, Richard Thompson, Magazine and a whole host of top notch performers from the worlds of rock,pop,folk and blues.
I go through phases where I bust out this finger-picking Americana $hit like John Fahey and Leo Kottke. I've been listening to a lot of old school Jethro Tull. I was listening to tons of it like Benefit and Living in the Past. I love that whole era of Jethro Tull. They were really on it. They were so good. Those dudes were serious players. They wrote some of the most memorable riffs. I've been going back and digging through the vault.
Signing My Name to a Piece of Musical History at Red Rocks Amphitheater Posted: 04/19/2013 11:24 am Read more: www.huffingtonpost.com/pam-grout/red-rocks-amphitheater_b_3095397.html The Beatles, in their only U.S. performance that wasn't sold out, were the first to take the stage after it was rewired and rebuilt for rock concerts. Since then, everyone from Jimi Hendrix, Steve Martin (his "A Wild and Crazy Guy" was produced there) and Jethro Tull (whose rock-lobbing fans at a June 10, 1971 concert inspired then Denver Mayor William McNichols, Jr. to ban rock concerts completely until a concert promoter sued the city for discrimination) to the Zac Brown Band (who will be playing three already-sold-out concerts this summer) has performed here.
In the interest of Beatles accuracy, though I won't be bothered to google my memory, the second time they played Shea in NYC it was somewhat famously not sold out, though Red Rocks capacity is signifigantly less. Pretty sure the second time they played White Sox Park in Chicago it was not a complete sell out either. Seats 5 or 6 bucks that I have little doubt you could get 1 million dollars for today, to hear their 25 minute set thru the 1965 version of White Sox Park's PA system.
Pop Music, Reissue, Rock Music — April 20, 2013 at 9:30 am Nuggets: Original Artyfacts From The First Psychedelic Era 1965-1968 (2012 Anniversary Edition) by Beverly Paterson Read more: somethingelsereviews.com/2013/04/20/nuggets-original-artyfacts-from-the-first-psychedelic-era-1965-1968-2012-anniversary-edition/ Surfacing in an age when either the epic rock of groups like Yes, Led Zeppelin and Jethro Tull or the soft-pop gloss of the Carpenters, Bread and Lobo ruled radio, the songs heard on Nuggets: Original Artyfacts From The First Psychedelic Era 1965-1968 seemed rather dated and raw by comparison. But it was those very traits that eventually turned the collection into an incredibly groundbreaking piece of work.
As regards that blog dude not hard to agree with the first part of his assertion but the second I must really mark as asinine. No I can't imagine that but of course I cannot imagine any of the 3 others to have done anything the other 3 have done, as, they are not them. Follow? I barely do either. Yes that includes the Beatles and the Stones.
O sure. But I was saying that they each have their own stamp, even music I don't like does. I don't think the Stones or the Doors have ever made a record quite so good as Aqualung though the first Doors gets in the room, the Beatles made several and some better.The Stones have made loads of great songs, I think Get Yer Ya's Ya's Out may be their best front to back album, plus all 3 of those have suffered a loss in quality due to even greater exposure on classic rock radio than Tull, really only Aqualung suffers from that. I consider Exile one of the more over rated classic albums in history, did not say I don't like some of it, but a little too heroin chic for me. Additionally it strikes me as a record that I know certain critics I dislike are likely to fawn over, like Never Mind the b*****s, Talking Heads 77, who ever that great undiscovered band from Memphis called Star Star is with Alex Chilton, (an undoubted mark of quality lol) Blonde on Blonde, alot of which I find boring, the first Band record, Pere Ubu and nine or ten others. All of these perceptions are at least in part, tied in with deranged Tull bitterness, never feeling they have been given their proper historical respect, and worse yet, often no respect at all. But oh that Alex Chilton. WOT a genius.
Couldn't agree more...Alex Chilton a rock writer's wet dream who, at very best, spit up a few sub-CSNY songs...nothing I'd buy since 'The Letter' a 2 minute single I DID buy in about 1967. My favorite album by any band is almost always not the one the self-appointed pros pick.....I'd like to think it's cuz the really good stuff is too good for the clowns listening for radio friendly hooks or arena anthems. That might be the Tull fan gene...digging what's good...not what we are told is good.
The Gibson Amphitheatre, a popular concert venue since opening in 1972 as the Universal Amphitheatre, will be leveled as early as October to make way for a Harry Potter attraction at Universal Studios Hollywood.
It’s been presumed for months that the iconic amphitheatre would need to come down, since NBCUniversal has been saying that its joint-venture attraction with Warner Bros. called The Wizarding World of Harry Potter was to be built at the north end of the park, which is where the amphitheatre resides. On Wednesday, the decision was made formal.
“This fall, a celebrated chapter in Los Angeles’ rich musical history will come to a close when the Gibson Amphitheatre shuts its doors in September,” NBCU and Live Nation said in a release Wednesday. Live Nation leases the 6,200-seat amphitheatre from NBCU.
Live Nation is organizing a special "finale" concert on or about Sept. 6 (acts have yet to be announced) to celebrate the 41-year-old venue, but details still are being worked out.
CONCERT REVIEW: Rush Triumphs at the Gibson
Insiders say employees of Live Nation and NBCU were notified Wednesday that their positions were being eliminated, but many of those who work at NBCU will get jobs elsewhere in the theme park.
The theater was renamed the Gibson Amphitheatre when it acquired naming rights in 2005. Gibson will surrender naming rights when the venue is shuttered, but NBCU did not say whether the guitar and musical instruments retailer was due a partial refund.
In its storied history, the amphitheatre attracted the biggest names in music, including Frank Sinatra, Bob Marley, Johnny Cash, Bob Dylan, David Bowie, Stevie Wonder, Elton John, Fleetwood Mac, The Eagles and The Beach Boys. Contemporary artists included No Doubt, Bruno Mars and One Direction.
Odder moments through the years have included Ian Anderson of Jethro Tull complaining of a sore throat then jumping off the stage and taking a marijuana cigarette out of a mouth of a fan in the front row. A chair fell from the catwalk and severely injured a concertgoer during a Donna Summer show, and Rick Springfield fell flat on his back while leaping through the air just after a screaming girl threw a cup of water onstage.
CONCERT REVIEW: No Doubt Plays Surprise Set at Night 2 of KROQ's Almost Acoustic Christmas
The amphitheatre also has been host to the MTV Awards and the Academy of Country Music Awards, and such comedians as Jay Leno, Conan O’Brien, Eddie Murphy and Billy Crystal performed on its stage. Five U.S. presidents also have appeared there.
Live Nation said that shows planned after the amphitheatre closes will be rescheduled at different, nearby venues, and tickets purchased will be honored or refunded.
The official decision to close the amphitheatre comes a day after NBCU received permission to get started on a $1.6 billion “Evolution Plan,” which includes the Harry Potter attraction as well as improvements to the film studio, more parking and the possibility of a couple of hotels.
Renaissance tours on new record funded by Kickstarter Releasing their second album in the last 30 years, orchestral folk band Renaissance draws a surprisingly younger crowd. - By Chris Parker Published: April 26, 2013 Read more: orlandoweekly.com/renaissance-tours-on-new-record-funded-by-kickstarter-1.1479931# The album features appearances by John Wetton (Asia, Roxy Music), dueting with Haslam on the baroque Blood Silver Like Moonlight, and flautist Ian Anderson (Jethro Tull) on “Cry to the World.” Overall, it’s a rich, full-bodied album.
(slightly late ;D) "Hare, you must go in search of the optician.''
Our own cavern club - By Richard Game Published 11:58am Tuesday, April 23, 2013 www.thestage.co.uk/features/2013/04/pink-floyd-at-bermondsey-street/ Among the terraced buildings on the east side of Bermondsey Street, just south of London Bridge, is number 47 – home to The Stage since 1978. The street still retains many 19th-century buildings dating back to the time when the Bermondsey district was replete with wool and leather factories and warehouses. However, the same area had become a rundown and forgotten part of town when the warehouse at number 47 was built in 1910. Fronted with glazed, white brickwork, it was initially used by a flag maker. Five years before The Stage took ownership, it was converted into office space, the drive-in and entrance to the rear closed up, and a lift installed.
The space ‘under’ the building has its own critical role in entertainment history, which The Stage itself has reported on since 1880. Beneath the five floors is a basement most notable for its low ceiling and broad, square pillars that intrude on the tight space, giving it a closed-in, almost claustrophobic feel. It is quiet, apart from the occasional sound of near-continuous traffic on the adjacent road.
What isn’t obvious is the famous music that was played here 40 years ago. “A dingy warehouse with a rehearsal room in it,” was how Pink Floyd’s David Gilmour described the building. So how did this maligned basement play its part in some of the most successful music of all time?
The Rolling Stones had become very successful in the six years since their inception, and needed more space and greater control of their recording time. Ian Andrew Robert Stewart (‘Stu’) was a co-founder of the Rolling Stones who became the band’s road manager. Himself an accomplished blues pianist who played on tour with the Stones, Led Zeppelin and others, he was known as the ‘sixth Stone’.
Stu ran the Bermondsey facility, taking a five-year lease from the summer of 1968 on the ground floor and basement to convert it into an equipment storage and rehearsal space, complete with a state-of-the-art tape recorder – a one-inch, eight-track Ampex MM1000, as good as that in Abbey Road at the time. This ‘rehearsal-space-cum-studio’ was to spawn the demos that became Let it Bleed, the Stones’ eighth album. Over the following three years, Sticky Fingers and Exile on Main St were also conceived in the Bermondsey basement.
When not in use by the Stones, the facility was rented out to other bands. In 1967, Stu lived with the Small Faces’ studio engineer Glyn Johns. He let the group use the space after frontman Steve Marriott left to join Humble Pie while the Rolling Stones were off being successful elsewhere.
“You might as well use the room – they never go down there. It’s a bloody waste of space if you ask me,” Stu exclaimed to Small Faces’ keyboard player Ian McLagan, who describes the studio as “only a cellar below a flag-maker’s warehouse, [but] it was everything to us. He’d had it painted and carpeted, and had a C3 Hammond [organ] with a Leslie [speaker], assorted guitar amps and a drum kit already set up”.
Here, McLagan jammed with remaining Small Faces’ members Kenney Jones and Ronnie Lane in the summer of 1969. They were then joined by Ronnie Wood and Rod Stewart, forming new group Faces. “We’d be rehearsing in the basement at Bermondsey, and Rod would listen at the top of the stairs,” says Wood.
Stewart remembers that “you would walk in and there would be all these boxed, two-inch tapes and quarter-inch masters on the shelves with things like ‘Honky Tonk Woman’ and ‘Gimme Shelter’ written on them”.
Songs for First Step and Long Player, the Faces’ first two albums, were rehearsed there. Four rehearsal tracks on Five Guys Walk into a Bar – later released in 2004 – were recorded at number 47. Other bands to rehearse there in the late 1960s were the Spencer Davis Group and Noel Redding, who formed Fat Mattress. Procol Harum rehearsed the album A Salty Dog there, as well as recording the first track on the album Juicy John Pink.
However, it was more usual to go on and record rehearsed music at nearby studios, includ-ing Abbey Road and the Olympic Sound Studios. And by 1971, the Stones’ preference was the Villa Nellcote in the south of France.
Yet Bermondsey still played its part. On a visit back there in 1971, label manager Trevor Churchill noticed a pile of tapes in the corner of the room. These rehearsal recordings included what would go on to be the classic tracks Sweet Black Angel and Tumbling Dice on Exile on Main St. They also included a cover version of the Jimi Hendrix song Red House – proving the creativity of time spent in the basement.
Jethro Tull then rehearsed what would be their classic album Thick as a Brick there in December 1971. Ian Anderson recalls: “I would write music in the morning, and I would then take that piece of music in at lunchtime. We met up in the Rolling Stones’ rehearsal room down in Bermondsey, where we would rehearse in the afternoon and the evening.”
By 1972, the basement was “a very dank and dirty place”, Jethro Tull members recall, matching David Gilmour’s description of the space by the time Pink Floyd met there in early January that year.
Recently returned from their fifth tour of the US, Pink Floyd had spent the end of 1971 composing new material – for their upcoming UK winter tour – at the Decca Studios, across town in West Hampstead. They followed this with two weeks of gig rehearsals in the Bermondsey basement – a crucial phase in honing what has become the third best-selling album of all time, the 1973 classic The Dark Side of the Moon, which this year celebrates its 40th anniversary.
These rehearsals were likely the first time all the songs were played in single sequence. Following this, the band spent three days in production rehearsals at the Rainbow Theatre in Finsbury Park, time used to add new lighting and a PA system to the latest composition.
All this in a basement in Bermondsey. Now quiet, still with some damp, it houses 133 years of entertainment history in the form of The Stage’s own archives.
Also featured in the concerts will be the world premiere of “Whence Minstrelsie Filled the Gallery” by Paul Siskind, a professor of music theory composition at SUNY Potsdam’s Crane School of Music...
...This year, the winning bidder also could pick a specific instrument or musician for the commissioned piece. The bidders selected flute and flutist Jill Rubio, adjunct instructor of flute at SUNY Potsdam.
“Jill does a fabulous job on this,” Mr. Andrews said. “She uses a lot of extended techniques like humming.”
In his program notes, Mr. Siskind noted Ms. Rubio decided to become a flutist after hearing Ian Anderson of the band Jethro Tull.
The title of Mr. Siskind’s piece is a tongue-in-cheek reference to the 1975 Jethro Tull album “Minstrel in the Gallery.”
The minstrel in the gallery looked down on the rabbit-run. And threw away his looking-glass - saw his face in everyone. ;D
Later, extra, extra ;D the news is all around Painter Ken White's work is on show at exhibition 11:50am Thursday 25th April 2013 in News By Flicky Harrison Read more: www.swindonadvertiser.co.uk/news/10377134.Painter_Ken_White_s_work_is_on_show_at_exhibition/ The exhibition includes a mixture of his new additions and some of his early work. These include a front cover of Cream magazine, which he painted in 1973 featuring David Bowie. “I also did Alice Cooper and Ian Anderson from Jethro Tull but the magazine kept the artwork. David Bowie’s cover has recently been on show in the Glam exhibition in Liverpool,’’ said Ken.
He’s above that kind of nonsense. So when Halestorm bested Lamb of God for a Grammy this year, you didn’t see Adler on Twitter, bitching and moaning like some other metallers did.
You heard nothing from Lamb of God’s camp, in fact.
“I have to look at it in the same way that I have looked at previous years’ winners — even from the begin when Jethro Tull took it” from Metallica, Adler tells us.
“Look, it’s a nice celebration of your art and music, but in the end, if I were to win a Grammy, and be proud of my win, I would then be validating everyone that has won before me,” the drummer says. “I don’t think some of those people deserve that validation.”
That’s not to say Adler wouldn’t attend the Grammys if nominated again somewhere down the line.
'The Office' excelled at name-dropping local connections by patrice wilding (staff writer) Published: May 3, 2013 Read more: thetimes-tribune.com/lifestyles/the-office-excelled-at-name-dropping-local-connections-1.1483074 "I was general manager of Rock 107 when 'The Office' was growing in popularity," recalled Bobby Lynett, now CEO of Times-Shamrock Communications, which also owns The Times-Tribune. During one episode, when Michael and Dwight Schrute perform an original rap, Dwight can just barely be seen wearing a Rock 107 T-shirt under his button-up, but Mr. Lynett still noticed right away.
"Only if you worked at Rock 107 would you notice," he said. "It was brief."
The biggest plug for the classic rock radio station, however, happened during a separate episode, when Dwight was shown repeatedly calling and asking if he was the 107th caller to the station to win a Jethro Tull box set.
"I remember, vividly, watching at night, with my wife right next to me, and from a casual, laidback position, I immediately sat up and turned to my wife and said, 'What did he just say?'" Mr. Lynett said. "And then my phone rings. It's employees, friends, family, and I realized at that point how many people are glued to their TVs watching the show."
Mr. Lynett fielded several calls from locals who were just as surprised and excited to hear the radio name said on air, and Mr. Lynett in turn called the station, where deejay Mike Evans was manning the booth at the time.
Mr. Evans also had witnessed the scene, and later that evening, recorded the audio snippet from his DVR at home. Rock 107 looped the line into regular airplay for several weeks after and even had T-shirts made with the quote.
"For a while, we took full advantage of our 15 seconds of fame," Mr. Lynett laughed.
Then, the station took the joke one step further: it actually mailed a Jethro Tull box set to the television set to the attention of Rainn Wilson, who portrays Dwight, with a note declaring him the 107th caller and winner.
Rock 107 never got a response to the gag, but Mr. Lynett still revels in the fact that the station earned such a big mention on the show.
"They're very good about localizing the show, which I think endeared them to the local viewers," he said.
-------------------------------------------------------------------------------- wzlx.cbslocal.com/2013/05/03/rock-n-roll-diary-may-3-2/ Rock N’ Roll Diary: May 3 Carter Alan / WZLX.com (100.7 FM, Boston) From the WZLX ticket stash: Jethro Tull played the Music Hall with Mott the Hoople in 1971
Since the Boycott, Divestment and Sanctions (BDS) movement got its start in 2005, the decision to schedule an appearance in Israel has been become a difficult one for popular recording artists. American and British performers who announce plans to stop in Tel Aviv or Ramat Gan as part of their world tour quickly come under fire from blogs, Facebook groups, and other BDS outlets that call upon them to immediately cancel these shows.
Some artists in recent years have complied with the BDS movementâ€™s demands or even adopted its Israel-as-apartheid discourse. The most recent incident involved Pink Floyd bassist Roger Waters, whose April 30 event at New York Cityâ€™s 92nd Street Y, â€œA Conversation With Rogers Waters,â€ was canceled following opposition efforts from the pro-Israel community. Waters last fall accused Israel of â€œethnic cleansing,â€ â€œapartheidâ€ and â€œinternational crimesâ€ in an address at the United Nations (UN), and he also spearheaded efforts to boycott an Israel Philharmonic Orchestra performance at New Yorkâ€™s Carnegie Hall.
Last November, Stevie Wonder backed out of a performance at the Friends of the Israel Defense Forces gala in Los Angeles, following a BDS petition that garnered more than 4,600 signatures and a recommendation from the UN to withdraw.
Yet, despite the potential of BDS backlash, many of the biggest acts in English-language music have played for Israeli audiences over the last decade. Paul McCartney performed in Tel Aviv in 2008, despite not only condemnation from boycott advocates but also a publicized death threat from an Islamic militant in Lebanon. The Black Eyed Peas came to Israel in 2006. Aerosmith and Leonard Cohen performed in Israel in 2009, Elton John and Metallica both played Tel Aviv in 2010, and Paul Simon and Justin Bieber came to the Jewish state in 2011.
Most recently, 2012 saw Israel host to Madonna, Lady Gaga, Metallica, Rihanna, Chris Cornell, Linkin Park, and the Red Hot Chili Peppers. Israeli fans, meanwhile, have shown themselves to be a force to reckoned with. In an ironic twist, Israeli Metallica devotees boycotted an upcoming appearance in Tel Aviv, protesting high ticket prices, and succeeded in persuading the band to intervene with concert promoters.
For some artists, resisting the pressure to divest from Israel means simply not responding to the blogs and online petitions. Others have gone a step further by vocally defending their choice. Elton John, whose 2010 concert came in the wake of the Gaza flotilla incident, affirmed on stage to his adoring audience that music is the wrong place for playing politics.
â€œMusicians spread love and peace, bringing people together,â€ he said. â€œThatâ€™s what we do. We donâ€™t cherry-pick our conscience.â€
Johnâ€™s statement was both one of support for Israelis and a jibe aimed at several popular musicians who had recently canceled tour dates in Israel, such as Santana, the Pixies, and Elvis Costello. Costello, announcing his decision to cancel on his official website, said his decision to pull out was â€œa matter of instinct and conscience.â€
Like John, others in the music world have answered protests by citing the unique ability of art to unify people across class and culture. Sharon Osborne said in a video released to reporters ahead of a 2010 concert that she and Ozzy were proud to be playing in Israel.
â€œMusic goes beyond politics because it is the international language of the world,â€ she said.
Jethro Tull frontman Ian Anderson, in response to calls for the band to cancel its 2010 Israel concert series, wrote on the bandâ€™s website that being told to boycott Israel â€œserves to strengthen my resolve that some degree of peace and understanding will result from my and other artistsâ€™ professional and humble efforts in such places.â€
In an effort to harness and publicize the opinions of more Israel-friendly celebrities like these, a group of music and film executives and industry workers launched the Creative Community for Peace (CCP) in 2011.
Attempting to balance the discourse of cultural divestment in the public sphere, the CCPâ€™s website features a sizable wall of quotes from popular musicians and film and television actors defending the choice to visit or perform in Israel, and expressing their positive impressions of the country and its people. The group also provides consulting services to talent agents and band managers on the unique logistical and public relations challenges of coordinating celebrity appearances in Israel.
â€œWe may not all share the same politics or the same opinion on the best path to peace in the Middle East,â€ the CCP states on its website. â€œBut we do agree that singling out Israel, the only democracy in the region, as a target of cultural boycotts while ignoring the now-recognized human rights issues of her neighbors will not further peace.â€
Binyamin Kagedan has an MA in Jewish Thought from the Jewish Theological Seminary of America.
Monday, May 06, 2013 Rolling Stone Readers Pick the Ten Artists That SHOULD Be in the Rock and Roll Hall of Fame www.vintagevinylnews.com/2013/05/rolling-stone-readers-pick-ten-artists.html With the induction of Rush into the Rock and Roll Hall of Fame, one of the tent-pole overlooked acts has finally come off the wish list. That leaves only about thirty or forty more that deserve induction but have been overlooked.
Rolling Stone asked their readers to pick the acts that ought to go in when the 2014 inductees are announced next December. The list is made up of some very important artists from the rock era, a group that has been eligible to be nominated a total of 143 times but have only actually received a nod in five (and three of those belong to Gram Parsons).
While a few of these are a bit of a surprise (Zevon, Cheap Trick) and the ranking might be a bit off (switch the Smiths and Nirvanna) the majority of the list is solid and could easily be expanded with Jethro Tull, King Crimson, Todd Rundgren and many more.
1. Deep Purple (Eligible since 1993, Nominated in 2013) 2. Smiths (Eligible since 2008, Never nominated) 3. KISS (Eligible since 1999, Nominated in 2010) 4. Yes (Eligible since 1994, Never nominated) 5. Moody Blues (Eligible since 1989, Never nominated) 6. Cheap Trick (Eligible since 2002, Never nominated) 7. Warren Zevon (Eligible since 1994, Never nominated) 8. Gram Parsons (Eligible since 1992, Nominated in 2002, 2004 and 2005) 9. Chicago (Eligible since 1994, Never nominated) 10. Nirvanna (Will be eligible for the first time this coming year)
Who isn’t familiar with the iconic image of Jethro Tull’s frontman standing on one leg, playing the flute? Ian Anderson shares the unusual beginnings of that signature move.
Truth be told, it had nothing to do with his iconic instrument of choice at all.
“I actually stood on one leg for the first time at the Marquee Club, playing the harmonica — I was a blues harmonica player,” Anderson tells BBC Radio 4. “To bend those notes, you actually suck rather than blow. And when you suck them, and your pants are a little bit too tight, as they were for me back then, you involuntarily raise a leg — and that’s how it’s happened with me. Doing the bending of blues notes, I would lift one leg off the ground. That became noticed. ‘Oh, and he plays the flute, as well.’ People put the two things together. So, I then had to learn to play the flute standing on one leg.”
Anderson, who recently released the long-awaited epic sequel to Jethro Tull’s memorable 1972 song cycle Thick as a Brick, says his decision to take up the flute was one of practicality in an age of guitar legends.
“At that point, there was Jeff Beck, Jimmy Page, obviously Eric Clapton — people we knew about who were the hot-shot guitar gunslingers in town from down South,” Anderson says. “Coming from the north of England, I thought: ‘Well, I’ve got to find something else to do, if I’m going to make my mark.’ The flute was just a shiny thing hanging on the wall of the music shop. It seemed like a fun thing to have.”
While Anderson adds that he still composes on the guitar (saying “I’m a strummer”), the long-time Tull frontman readily admits that even today he doesn’t play to Clapton’s level. “I’m sure that I don’t; but I’m equally sure that he doesn’t play flute as well as I do.”
Don't see what I do not want to see, you don't hear what I don't say. Won't be what I don't want to be, I continue in my way.
A film still from the documentary "Cardboard Bernini" about the artist James Grashow. By WILLIAM GRIMES Published: May 13, 2013
His early work tended to be whimsical, grotesque and obsessively detailed, a style that carried over to his woodcuts, which supported what he calls “my sculpture addiction.” As an illustrator, he worked steadily for a variety of magazines and newspapers, especially The New York Times, and for Columbia Records. He designed the cover for Jethro Tull’s 1969 album, “Stand Up,” and the 1971 album “Live Yardbirds: Featuring Jimmy Page.”
maddogfagin: May 7 is the 127th day of the year (128th in leap years) in the Gregorian calendar. 238 days remain until the end of the year.
May 7, 2019 6:59:01 GMT
rabey: Hi John/bunkerfan and Steelmonkey.
May 7, 2019 23:08:40 GMT
rabey: Thanks for the interest. Unfortunately because Ian/Tull is doing his own book when I sent a request to find John I got stonewalled, even though I have a signed contract by Ian from 2013 stating I was doing a DVD version of The book. I also have had trouble
May 7, 2019 23:11:47 GMT
rabey: I guess after 5 years Ian forgot this even existed. Imean, he never even listed my book with all the other books that have been out of print for decades, yet mine and Tim S still have books in print and we're not mentioned.
May 7, 2019 23:13:11 GMT
rabey: I just get the impression that this AND having just dealt with Tull are all they care about really and it peeves me when the truth is when I first got my original contract with a US publisher to write the book with quotes on 3 other books on ELP,Crimson,
May 7, 2019 23:21:53 GMT
rabey: and YES, I contacted both Martin and Dave from AND and offered involvement in writing and photography. but Dave said no interest and martin was happy to get his photos printed just for credit. Later Daves book arrived and martin wanted 100 bucks a shot.
May 7, 2019 23:25:00 GMT
rabey: Anyway, The publisher refused the cost of photos, Martin wrote the only negative review of the book in print except for Amazon where a few stinkers stalled it's movement, but basically there was nothing advertising the book outside the UK.
May 7, 2019 23:29:01 GMT
rabey: I have to find a better way to post.
May 7, 2019 23:29:21 GMT
steelmonkey: Fights about history, public knowledge and more personally researched knowledge are pretty hard to untangle...but nothing takes away your contributions to total Tull information.
May 8, 2019 21:35:56 GMT
rabey: Very Kind, Steelmonkey!
May 9, 2019 1:33:24 GMT