zendad
Prentice Jack
Posts: 28
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Post by zendad on Nov 15, 2012 15:47:22 GMT
We never had this problem back in the day with vinyl and cassettes, just saying... Seriously, this remix thing has to stop, NOW !! (Lol) All these Tull anoraks coming on here talking about DVD 5.1 mixes, blu-ray or whatever. I imagine them sat in fromt of a t.v wearing a duffel coat (Or anorak) playing the disc over and over whilst asking their poor wives "Deirdre, does Barrie Barlow's hi-hat sound a bitt too bright in this section? " Cue wife walking towards him brandishing a carving knife !! The thing people don't seem to get is that we are all about 40 years older than we used to be and our hearing is knackered !! If they do any more remixes I would remix Catfish Rising and call it Codpiece Rising, always thought that album would have sounded better with that title !!
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Post by nonrabbit on Nov 15, 2012 16:16:26 GMT
We never had this problem back in the day with vinyl and cassettes, just saying... Seriously, this remix thing has to stop, NOW !! (Lol) All these Tull anoraks coming on here talking about DVD 5.1 mixes, blu-ray or whatever. I imagine them sat in fromt of a t.v wearing a duffel coat (Or anorak) playing the disc over and over whilst asking their poor wives "Deirdre, does Barrie Barlow's hi-hat sound a bitt too bright in this section? " Cue wife walking towards him brandishing a carving knife !! The thing people don't seem to get is that we are all about 40 years older than we used to be and our hearing is knackered !! If they do any more remixes I would remix Catfish Rising and call it Codpiece Rising, always thought that album would have sounded better with that title !! You've got a Ken and Deirdre thing going on there You've also made a very valid point Mr Zendad and it's encouraged me to be frank and open and admit that my equipment is not up to the required standard. I was feeling inadequate but not anymore - I will await either a lottery win or indeed a rich Tull fan* who's willing to let me fouter (Scottish word meaning to fiddle, potter or trifle) about with his state of the art boys toys. *I've never found one in all of my years of looking and probably never will.
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Post by maddogfagin on Nov 15, 2012 18:39:31 GMT
We never had this problem back in the day with vinyl and cassettes, just saying... Oh yes - well said sir. ;D
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Post by futureshock on Nov 15, 2012 20:15:21 GMT
Did I catch that right, that the mastering wasn't done by the person who did the remix? EMI can't even listen to the product once to preview QC before greenflagging the bulk pressing process?
Let's have the traffic policemen in Borneo design the next space shuttle, because they said they want to, and that would be time efficient!
Life is easy.
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Post by steelmonkey on Nov 15, 2012 20:41:40 GMT
I'm not sure traffic cops in Borneo deserve to be compared to EMI QC....try to be fair, okay ?
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Deleted
Deleted Member
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Post by Deleted on Nov 15, 2012 21:19:13 GMT
www.quadraphonicquad.com/forums/showthread.php?16826-Jethro-Tull-Thick-As-A-Brick-%28Steven-Wilson-5-1-DTS-Dolby-DVD%29&p=164890&viewfull=1#post164890 Re: Jethro Tull - Thick As A Brick (Steven Wilson 5.1 DTS/Dolby DVD) Quote Originally Posted by JohnN/tootull View Post Now my rant;>) or oh let me rant. I'm fed up with Tull sounding too bright for my taste. Like Steven Wilson said about Aqualung, "Peter Mew seems to have added some extra brightness, around the 10-12K area - I can't say I prefer it that way, but again it's a taste thing." This time with TAAB the cymbals are destroyed in parts of the 5.1 mix. Ignoring the glitches. The 5.1 mix is a treat at lower levels. For me, less bright and it would be a perfect 5.1 experience. Subtle surround when it needs to be. Listening at a reasonable level it will do, cranked then I have a real problem with the top end. You get tired of the cymbal sound by the 7 minute mark. Let's not forget: "I did notice that at the very end of the album, the "Yeah" that Ian Anderson quietly says, after the final "to be thick as a brick" is sung, IS MISSING! I mean c'mon. With such a big deal re-mix 40th Anniversary Deluxe Package of this classic, done I would assume, for the rabid fan (who would notice these things), and not the casual listener, you'd think all possible homework would have been done. It makes me wonder what else is missing or drastically changed." - Ozzy Steven Wilson replied: With some trepidation I say that I don't think any of these concerns will still be relevant when you receive the new pressing of the disc.
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Deleted
Deleted Member
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Post by Deleted on Nov 15, 2012 21:21:14 GMT
Did I catch that right, that the mastering wasn't done by the person who did the remix? EMI can't even listen to the product once to preview QC before greenflagging the bulk pressing process? Let's have the traffic policemen in Borneo design the next space shuttle, because they said they want to, and that would be time efficient! Life is easy. Yes. Peter Mew mastered the Steven Wilson mixes to the bright side.
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Deleted
Deleted Member
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Post by Deleted on Nov 15, 2012 21:27:19 GMT
We never had this problem back in the day with vinyl and cassettes, just saying... Seriously, this remix thing has to stop, NOW !! (Lol) All these Tull anoraks coming on here talking about DVD 5.1 mixes, blu-ray or whatever. I imagine them sat in fromt of a t.v wearing a duffel coat (Or anorak) playing the disc over and over whilst asking their poor wives "Deirdre, does Barrie Barlow's hi-hat sound a bitt too bright in this section? " Cue wife walking towards him brandishing a carving knife !! The thing people don't seem to get is that we are all about 40 years older than we used to be and our hearing is knackered !! If they do any more remixes I would remix Catfish Rising and call it Codpiece Rising, always thought that album would have sounded better with that title !! Not quite. my wife is the first to notice wrong recordings. She rules! wearing a duffel coat (Or anorak) Hardly. Beaver pelts. ;D
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Deleted
Deleted Member
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Post by Deleted on Nov 15, 2012 21:30:44 GMT
We never had this problem back in the day with vinyl and cassettes, just saying... Oh yes - well said sir. ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D
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Post by maddogfagin on Nov 16, 2012 9:01:07 GMT
Oh yes - well said sir. ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D All those hours of fun unravelling magnetic tape from the player in the car, swearing and cursing about stretched tape, the large scratch that appeared on the first track of your favourite lp which added clicks to the audio pleasure of listening to it - oh yes hours of fun and frollicks
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zendad
Prentice Jack
Posts: 28
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Post by zendad on Nov 16, 2012 13:08:23 GMT
"All those hours of fun unravelling magnetic tape from the player in the car, swearing and cursing about stretched tape, the large scratch that appeared on the first track of your favourite lp which added clicks to the audio pleasure of listening to it - oh yes hours of fun and frollicks" Well said Sir
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Deleted
Deleted Member
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Post by Deleted on Nov 16, 2012 15:05:13 GMT
;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D ;D All those hours of fun unravelling magnetic tape from the player in the car, swearing and cursing about stretched tape, the large scratch that appeared on the first track of your favourite lp which added clicks to the audio pleasure of listening to it - oh yes hours of fun and frollicks No tears. No fears. Magnetic tape hanging from car antennas & littering the landscape. Too much. Warped record returns drove me crazy. When vinyl records ruled; don't forget the "new improved sound quality of cassettes". Always good for a laugh in retrospect. The record crushes the cassette, even with that snap, crackle & pop.
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Post by maddogfagin on Nov 16, 2012 18:41:08 GMT
All those hours of fun unravelling magnetic tape from the player in the car, swearing and cursing about stretched tape, the large scratch that appeared on the first track of your favourite lp which added clicks to the audio pleasure of listening to it - oh yes hours of fun and frollicks No tears. No fears. Magnetic tape hanging from car antennas & littering the landscape. Too much. Warped record returns drove me crazy. When vinyl records ruled; don't forget the "new improved sound quality of cassettes". Always good for a laugh in retrospect. The record crushes the cassette, even with that snap, crackle & pop. I have never understood why the minidisc format never caught on, both for audio and also as a replacement for floppy discs in PCs. Seems a great idea and format but, according to Sony, not popular with the public who seem to have rushed back to the 'umble cassette if the mounds of them at our local Tesco are anything to go by. Strange world.
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Post by maddogfagin on Nov 18, 2012 10:02:41 GMT
Jethro Tull Thick As A Brick Chrysalis 7046192 (CD+DVD / 2-LP)Forty years after the release of Thick As A Brick, it's difficult to comprehend why the album should have proved so very divisive. Mind you, that dividing line couldn't have been clearer: garlands from exultant fans on one side, critical flak from cynical music journos on the other, lan Anderson's prickly, prog-parodying motives may have been largely misunderstood by the gentlemen of the press - but it seems just as likely that the album contained simply too much information to process for mere mortals with a lunchtime drinking habit. One enormous, intimidatingly complex concept piece, divided into two 20-minute- plus sections? Life Is A Long Song indeed. Today, free from the irrelevant context of misdiagnosis and derision that dogged it on its original release, the album sounds like nothing less than an Olympian feat of composition and musicianship. Note the stern acuity of Anderson's lyrics, the lockstep precision of the ensemble interplay and the way the main acoustic guitar motif is subtly threaded through the piece like a silver seam. The second part's haywire four-minute intro - with drummer Barriemore Barlow flaying his kit into neutrinos - still represents a thrilling throwdown. The audio-only DVD presents a 5.1 stereo mix of the album by Porcupine Tree's Steven Wilson. the prog remix Zeiig. Oregano RathboneRecord Collector, December 2012 www.recordcollectormag.com
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Deleted
Deleted Member
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Post by Deleted on Nov 23, 2012 15:27:18 GMT
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Post by maddogfagin on Nov 26, 2012 8:19:55 GMT
nj.com Holiday Gift Guide: Music"Thick as a Brick: 40th Anniversary Special Edition," Jethro Tull (CD and live DVD set, Chrysalis, $26.99). Jethro Tull frontman Ian Anderson has always been a literary sort and expects his fans to enjoy a good book, too. "Thick as a Brick," Tull’s classic 1973 mock-opera, was initially packaged with a fictitious newspaper; this re-release and remix reproduces that entire periodical, appends photos and essays, and encloses it all in a handsome hardcover.More at www.nj.com/entertainment/music/index.ssf/2012/11/holiday_gift_guide_music.htmlGood to see Joni's "Blue" album mentioned as well
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Post by tullpress on Nov 27, 2012 17:13:43 GMT
I'd still like to know what the difference in content is -- if any -- between the CD-book and the album 12 x 12 book ... anyone have both?
A
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Post by maddogfagin on Nov 27, 2012 18:40:32 GMT
I'd still like to know what the difference in content is -- if any -- between the CD-book and the album 12 x 12 book ... anyone have both? A The only person who is likely to have both versions is probably Old Webby. I'll ask
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Post by jangast on Nov 28, 2012 7:14:47 GMT
I'd still like to know what the difference in content is -- if any -- between the CD-book and the album 12 x 12 book ... anyone have both? A The only person who is likely to have both versions is probably Old Webby. I'll ask (I am not Old Webby, but) Besides the difference in adapting the original St Cleve Chronicle in the different formats the LP-Box-Book is 76 p, the CD/DVD one 104. The latter without any contents about TaaB2, instead with lyrics of Thick as A Brick in German and Italien and some photographs wich are not included in the 12 x 12 book respectively photographs in different close ups and there is a comic about Steven Wilsons work wich is not in the big book. JG
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Post by maddogfagin on Nov 28, 2012 8:47:24 GMT
The only person who is likely to have both versions is probably Old Webby. I'll ask (I am not Old Webby, but) Besides the difference in adapting the original St Cleve Chronicle in the different formats the LP-Box-Book is 76 p, the CD/DVD one 104. The latter without any contents about TaaB2, instead with lyrics of Thick as A Brick in German and Italien and some photographs wich are not included in the 12 x 12 book respectively photographs in different close ups and there is a comic about Steven Wilsons work wich is not in the big book. JG Thanks jangast, much appreciated. Old Webby also mailed me with the following: . . . . the vinyl has stuff and pictures of both 1972 and 2012 (the latter photos being of a particularly high artistic standard...) while the CD/DVD has the same but also more 1972 stuff and no 2012 stuff - 'cos, natch, it's only the 1972 version.
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Post by maddogfagin on Nov 28, 2012 9:10:38 GMT
From www.avclub.comThick As A Brick and the pleasures of the very, very, very long song by Noel Murray November 28, 2012 In 1971, British rock band Jethro Tull had its biggest hit worldwide with the LP Aqualung, which critics described as a concept album about religion, even though frontman Ian Anderson denied that the record was meant to be anything like the rock operas and classical-inspired progressive rock suites that had become increasingly popular in the early ’70s—the kind of music that Anderson claimed to despise. So Anderson decided to express his feelings about concept albums and prog-rock via parody, recording an album-length “song” called Thick As A Brick, complete with noodle-y organ solos and poetic passages that (as part of the album’s concept) are put forth as the work of a precocious schoolboy who won a contest. Thick As A Brick sold millions, though its wit is so dry and so subtle that many missed the joke. Over the past 40 years, Thick As A Brick has been slammed by prog-haters as an example of the genre at its most excessive, and embraced by prog-lovers for more or less the same reason. It’s easy to understand the confusion. Listening to the new 40th-anniversary edition of Thick As A Brick, I was struck anew by how spry the record often is, beginning with an opening three-minute passage that’s less lumbering art-rock than folk-pop ditty (that has frequently been excerpted and played on the radio). But the heaviness does bull its way in, via pounding instrumental sections and extended stretches of impressionistic lyrics that anyone could easily mistake as sincere. Thick As A Brick goes through a lot of changes, but each piece follows organically from what precedes it, such that the record really does feel like a single song and not a suite or medley; and while Anderson’s word salad isn’t meant to tell a story, the lyrics do cohere around a single theme, about how we shouldn’t be so quick to put our faith in pulp heroes or “wise men.” There’s no reason not to take the album/song seriously—and no reason not to find it extremely pretentious, if you’re not into rock bands delivering 44-minute treatises on the human condition. Myself, I’m a huge fan of Jethro Tull’s first two albums, which are more blues-oriented, and I’m less enamored of the band’s stadium-rock side, as exemplified by Aqualung. But I love Thick As A Brick more with each passing year, whereas when I was younger, I typically only listened to the three-minute version of the song on the Jethro Tull greatest-hits collection M.U. Similarly, in my teens and 20s I used to focus the bulk of my Yes listening on The Yes Album and Fragile, which sport relatively compact songs, while over the past 10 years I find that I’d much rather listen to the more grandiose Close To The Edge and Tales From Topographic Oceans—the latter of which I couldn’t even get through one side of a decade ago. It’s not that I think Thick As A Brick and Topographic Oceans are vastly superior to the other albums by Jethro Tull and Yes, or even as good as early-’70s rock music gets. I’m just older now, and more patient with songs that take a while to get where they’re going. And it’s not just prog. Some of my favorite alt-rock songs of the last 20 years have been epics, such as Built To Spill’s “Untrustable/Pt. 2 (About Someone Else),” which over the course of its nine minutes evolves from a bratty Bob Dylan-style putdown—a kind of “Positively 4th Street” for the grunge set—into a surging jam laced with cosmic end-times jargon. Speaking of Dylan, he’s responsible for my favorite “very, very, very long song” of 2012: the 14-minute “Tempest,” a balladic retelling of the sinking of the Titanic that mixes historical facts with fleeting memories of Hollywood’s versions of the story. I was also happy this year to see long-song specialist Mark Kozelek return on his band Sun Kil Moon’s excellent Among The Leaves. While not as packed with sprawlers as the best Red House Painters albums, Among The Leaves still shows that Kozelek can stretch out with the best of them, taking his fans on winding journeys around the world and back into his own wryly melancholy headspace. And next week, avant-garde crooner Scott Walker will be releasing his new album Bish Bosch, featuring two songs that are around 10 minutes each, and one that pushes past 20. In preparation, I’ve been re-listening a lot to Walker’s Tilt and The Drift, enjoying their glacial slowness and songs that seem to reveal themselves one tone at a time. These are all different approaches to the very long song—and I haven’t even gotten to any of the jazz records or jam bands in my collection—but they share a defiance of pop convention that allows them to find their own shape. Unconcerned with conforming to a three-minute verse-chorus-bridge structure, these songs can go wherever they like, whether that means holding to repetitive minimalism for a quarter-hour, breaking for two minutes of endurance-testing dissonance, or letting each member of the band take a solo. It’s like the difference between a newspaper article and a novel, or a TV sitcom and a movie. There’s nothing wrong with the rigid forms and built-in expectations of certain clearly defined mainstream media—in fact, when skillfully done, these sorts of entertainment are my favorites—but there’s also a lot of pleasure to be had from a story, song, or visual artwork that has no observable boundaries. They demand that we succumb; and when it comes to popular culture, I’d much rather succumb than stand aloof. Weirdly, I think one of the main reasons why I’ve become a long-song junkie in my 40s is because of the “shuffle” mode on my MP3 player. I love shuffling. I love turning my entire music library over to chance, letting a miniature computer randomize the order of what I hear and when. I find that serendipity leads me to hear things I hadn’t before, to make connections between otherwise unrelated pieces of music, and to recognize that some artists don’t come off so well when their songs are played between some of the best rock, pop, and soul music of all time. At the same time, I do recognize that shuffling rewards short attention spans, making it easy for listeners to skip to the next song if the current one’s not doing anything for them. And unlike listening to an entire album—or a single-artist playlist—shuffling a whole MP3 library isn’t exactly an exercise in continuity, with each song building purposefully on the one before. But a very long song can change the flow of a shuffle, and thus the flow of a drive or a walk—and thus the flow of a day. If I’m in a car and suddenly I hear Pink Floyd’s “Dogs,” or Cat Stevens’ “Foreigner Suite,” or Stevie Wonder’s “Do I Do,” then I’m no longer bouncing merrily from one song to the next, but rather fully engaged with one song, letting it lead me along. I’m sure some of you have even had the experience of making several stops in a car while listening to a very long song, such that the song becomes even longer, expanding across a trip to the post office and a run to the grocery store. If Joni Mitchell’s “Paprika Plains” were to shuffle up at just the right time during my afternoon errands, its 16 minutes could end up taking the better part of an hour to get through. It would be almost like listening to an audiobook. I’d rather a long song just pop up unexpectedly, as opposed to my actively choosing to play it. I’ve done plenty of the latter: carefully cueing up Bruce Springsteen’s “New York City Serenade” or Patti Smith’s “Land” on my portable cassette player before going out for a walk, timing it so that I get where I’m going right as the song fades, as though a jaunt down to the convenience store were some kind of legendary journey. But these days I prefer to be surprised—to have these leviathan songs lurking in the vast pool of my MP3 player, waiting to surface and awe me. As I said, I get why some who like very long songs would still have no use for Thick As A Brick, which in form and intent is much different from an epic acoustic folk ballad, an extended blues jam, a Krautrock drone, a 12-inch new-wave dance mix, or any of the myriad other ways that music can profitably take up a lot of time. And no matter what Anderson says, I’m not sure that the mockery inherent in Thick As A Brick is pointed enough to distinguish itself from what it’s purportedly mocking. I just know that when I hear that telltale acoustic guitar strum and trilling flute, and hear Anderson sing, “Really don’t mind if you sit this one out,” I smile and settle back, knowing that “this one” is going to take a while.
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Post by steelmonkey on Nov 28, 2012 17:23:25 GMT
Any chance that some of those 'High artisitic standard' fotos of 2012 were taken by Mr Webb? Well, if you can't say something nice about yourslef, why say anything at all? English reserve and humility out the window...
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Post by Tull50 on Nov 28, 2012 18:20:01 GMT
From www.avclub.comThick As A Brick and the pleasures of the very, very, very long song by Noel Murray November 28, 2012 Thanks for the post MD I have to say that I'm one of those oddballs who like the long songs...also a lover of A Passion Play
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Post by steelmonkey on Nov 28, 2012 18:58:03 GMT
As I have said many times....but it is important enough for endless re-iteration, A Passion Play is to the Jethro Tull discography what Jethro Tull is relative to other bands. Anyone who disagrees ( or has disagreed) ' has the right...to be wrong'.
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tullist
Master Craftsman
Posts: 478
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Post by tullist on Nov 29, 2012 0:02:01 GMT
Bernie, while I can not say there have not been a handful of days in my life where I would have marked the Play to be Tulls crowning achievement, (probably UW had its moments in the sun with me too), I am curious to know where you place the Chateau tapes, as I find those to be very much the superior of the finished product. And only partly because of Martins willingness to dress up in mens clothing when he feels romantic.
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Post by steelmonkey on Nov 29, 2012 1:41:50 GMT
Chateau recordings, to me, part and parcel of APP...and as with all works in progress...some of the stuff the artist didn't keep sounds as good as or better than the finished product...the three cuts that came on the 20 year box proved to me that APP was just tip of that era's creative iceberg...and the stuff on Nightcap equally impressive. There's a castle in Krakow....where Polish kings used to live...and every hour, on the hour, they play a mournful little trumpet riff...to commemerate some guy getting offed by an arrow to signal the start of some 14th or 15th century war....I was surely drunk when I heard it ( try kill the westerner with alcohol being Poland's main spectator sport in 1977)...but when i heard 'First Post' all those many years later...I was sure I recognized it.
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tullist
Master Craftsman
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Post by tullist on Nov 29, 2012 3:46:17 GMT
Chateau recordings, to me, part and parcel of APP...and as with all works in progress...some of the stuff the artist didn't keep sounds as good as or better than the finished product...the three cuts that came on the 20 year box proved to me that APP was just tip of that era's creative iceberg...and the stuff on Nightcap equally impressive. There's a castle in Krakow....where Polish kings used to live...and every hour, on the hour, they play a mournful little trumpet riff...to commemerate some guy getting offed by an arrow to signal the start of some 14th or 15th century war....I was surely drunk when I heard it ( try kill the westerner with alcohol being Poland's main spectator sport in 1977)...but when i heard 'First Post' all those many years later...I was sure I recognized it. Far freaking out story Bernie. Lord knows that country earned the right to play an eternal blues. As have most. Reminds me of the story of that, bugle player I think, from the American Civil War who apparently would hold both sides spellbound at night before the next days return to carnage. Forget if he was a Yank or a Reb, doubt if it matters, might have been an angel.
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Post by maddogfagin on Nov 29, 2012 9:02:27 GMT
Chateau recordings, to me, part and parcel of APP...and as with all works in progress...some of the stuff the artist didn't keep sounds as good as or better than the finished product...the three cuts that came on the 20 year box proved to me that APP was just tip of that era's creative iceberg...and the stuff on Nightcap equally impressive. There's a castle in Krakow....where Polish kings used to live...and every hour, on the hour, they play a mournful little trumpet riff...to commemerate some guy getting offed by an arrow to signal the start of some 14th or 15th century war....I was surely drunk when I heard it ( try kill the westerner with alcohol being Poland's main spectator sport in 1977)...but when i heard 'First Post' all those many years later...I was sure I recognized it. Got to agree Bernie. The Chateau tapes are, in their unedited form, damn impressive. And as for the Poles plying us "westeners" with strong drink - they still do.
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Post by nonrabbit on Nov 29, 2012 10:45:03 GMT
Chateau recordings, to me, part and parcel of APP...and as with all works in progress...some of the stuff the artist didn't keep sounds as good as or better than the finished product...the three cuts that came on the 20 year box proved to me that APP was just tip of that era's creative iceberg...and the stuff on Nightcap equally impressive. There's a castle in Krakow....where Polish kings used to live...and every hour, on the hour, they play a mournful little trumpet riff...to commemerate some guy getting offed by an arrow to signal the start of some 14th or 15th century war....I was surely drunk when I heard it ( try kill the westerner with alcohol being Poland's main spectator sport in 1977)...but when i heard 'First Post' all those many years later...I was sure I recognized it. See that's why I love Tull and Ian's songwriting skills - they bring out the magic in himself and those fans who interprete the sounds and words in so many imaginative ways. Bugle sounds from a tower in Kracow ............................magical. "..the melody abrupt ending is said to commemorate a trumpeter from Krakow who was shot through his throat by a Tatar archer in 1241 when the Mongols besieged the city..."
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Post by steelmonkey on Nov 29, 2012 16:48:57 GMT
and you thought I make this stuff up !
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