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Post by maddogfagin on Aug 20, 2014 8:47:20 GMT
www.theguardian.com/music/2014/aug/20/gavin-esler-why-i-love-prog-rock-musicGavin Esler: Why I love prog rockThe writer and BBC journalist talks about his love for rock’s most varied – and derided – genre, and how it’s about much more than silly capes and 10-minute drum solos Interview by Andrew Dickson The Guardian, Wednesday 20 August 2014All about the details … Ian Anderson on stage with Jethro Tull in 1969. Photograph: Gai Terrell/RedfernsLet me say it up front: I don’t like bad hair or capes. I’m not into witches, warlocks or elves. I would never try to claim prog rock is cool. But I love it. And I know I’m not the only one. It’s perhaps easier to say what prog rock isn’t than what it is: it’s not three-minute pop songs, it’s not straightforward rock, metal, blues or jazz, but can have elements of all them and more. It’s a form that is on the boundaries of many different forms, that is open to all sorts of influences. It’s really the name for music that is very difficult to categorise. Too often we put music into boxes; you can’t do that with prog. I grew up in Edinburgh, with a lot of music around me. There was a strong folk music scene in Scotland – there still is – and most of my friends played guitar, as I did. When I was 13 or 14, I decided that if I couldn’t play like Bert Jansch by the time I was 16, I would give it up. Needless to say, I never got close. One day I came home with two LPs, Jethro Tull’s This Was and Led Zeppelin II. I had spent all my pocket money on them, and was immensely proud that I was listening to something that wasn’t my parents’ music. I didn’t buy them because it was prog rock; I bought them because I thought it was astonishing music. Then a friend asked if I’d heard an album by this new band Pink Floyd called The Piper at the Gates of Dawn. I thought it was truly extraordinary – the production values, the care that had been taken, all these remarkable sounds, from weird electronic blips to the roar of raw guitar. It blew my head off. I couldn’t believe people could actually do this. I started listening to more and more things. And it opened all sorts of doors to me: to Keith Jarrett, to jazz, to Bach. Ian Anderson of Jethro Tull is now a good friend, and the thing that strikes you about him is that he’s all about details. You’d see him as young man, standing on one leg on stage with his hair all over the place, hopping around wildly and playing the flute, but every single thing that he does has absolute precision. It’s one of the reasons so many of these artists have had such long careers. They’re the real thing. There’s no doubt that prog rock has an image problem: many musicians hate the label, and too many people associate it with 10-minute drum solos and the weirder bits of JRR Tolkien. I know of at least two BBC DJs who publicly deride it, and yet in private admit they love the music. That’s a real shame. There’s so much to be proud of, not least because you could argue that it’s a British form. Sure, you can get embarrassed by the concept albums and the rest of it, but frankly we should be embarrassed by the Birdie Song, too. But it seems to be on the way back. Prog magazine is one of the few music magazines I can think of whose circulation is healthy; the Progressive Music awards, which I’ve hosted for the last three years, gets bigger and bigger. Young bands are hugely influenced by this music, desperate to escape the straightjackets imposed on them by the industry and try something more experimental. I remember one year people were having a drink after the awards ceremony and I joined a conversation halfway through. It turned out that Fish – formerly of Marillion – and two members of Genesis were having an impassioned debate about the influence of the Battle of the Somme on morale among French, British and German troops. Be as rude as you like about prog rock, but you don’t get that at a Beyoncé concert. Prog in precis Way in: Locomotive Breath by Jethro Tull It’s punchy, upbeat, it’s got rock and jazz and a load of other things. It sends you home happy. Key work: Dark Side of the Moon by Pink FloydInventive, unforgettable – and you can sing along to the tunes. In three words: Capes not necessary. • The Progressive Music awards 2014 are on 11 September at Underglobe, London SE1. Details: awards.prog.teamrock.com
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Post by Equus on Aug 20, 2014 19:35:42 GMT
Ian Anderson initially gained fame as the frontman, vocalist and flutist for the band, Jethro Tull, but over the years added more and more instruments to his arsenal, making him a multi-instrumentalist with everything from acoustic guitar, bass guitar, and keyboard to the flute, various whistles, balalaika, and saxophone. "Homo Erraticus" will be Ian Anderson's seventh full-length solo studio release. There are fifteen tracks on the album, which clocks in at approximately 51 minutes. The album is a concept album which tells the story of Gerald Bostock, who was originally introduced in the Jethro Tull album, "Thick as a Brick," and then continued with Ian Anderson's previous album "Thick as a Brick 2." The album opens up with the track "Doggerland," which opens up with a flute and distorted guitar playing a melody together. The song grows to include various strings, an organ, and a keyboard. "Heavy Metals" opens up with what sounds like a mandolin or dulcimer - with the vocals and a (guitar?) harmonizing lines on the melody. "Enter the Uninvited" opens with guitar and keyboard but opens up pretty quick to include flute and drums and some interesting lyrics that start out like some kind of word association/ stream of consciousness thing. "Puer Ferox Adventus" opens up with chanting and thunder - some really metal stuff - and Ian sings his vocals over this backing until the chanting and thunder phase out and drums and organ take over and other instruments come in during the track. The track also has some of my favorite guitar work from the whole album. The track "Meliora Sequamur" opens up with an organ and acoustic guitar - some of the vocals on this track are like choir vocals. "The Turnpike Inn" opens up with some distorted guitar, flute and drums and reminds me a lot of "Locomotive Breath" from back in Jethro Tull's heyday. "The Engineer" is another song that starts out kind of heavier with electric guitar and drums with the flute, and then what sounds like an accordion comes in on the track. The track "The Pax Britannica" really comes across a lot like a minstrel type of song, but with much fuller instrumentation, with the bass guitar being much more prominent than on a lot of tracks from the album. "Tripudium Ad Bellum" uses flute and muted distorted guitars to create a mood at the beginning of the track, and then takes that mood in some interesting directions. "After These Wars" is primarily flute, piano and percussion with a strong vocal contribution from Ian Anderson. "New Blood, Old Veins" opens up with a cool groove on bass and the track sounds like funk music mixed in equal parts with folk music, but it somehow works together. It also has one of the cooler flute solos from the album. "In for a Pound" is another song that sounds very much like something you might hear at a renaissance fair. "The Browning of the Green" is a change of direction from the last song, sounding more like a lot of Jethro Tull's material from the '70s era. "Per Errationes Ad Astra" is mainly a crazy monologue that seems to be about not worrying about mankind messing up space because our race is self-destructing too fast to have time to cause much more damage. The album closes out with an intense track titled "Cold Dead Reckoning" is mainly carried by drums, distorted guitar and flute and drives home the point made by the monologue from the previous track. Lyrics: Ian Anderson's voice has grown in a certain direction and on this album is used in a certain way where it is mostly like the quintessential "minstrel" type of vocal. It is really an ideal type of vocal for progressive rock of this nature, especially with the strong folk elements. The lyrics on the album get pretty dark. As a sample of the lyrics from the album, here are some from the closing track, "Cold Dead Reckoning": "I don't mean to be a misery but/ I have to tell you straight/ there are zombies in the closet and/ they're not prepared to wait/ we are the tribe that eats itself and/ spits out not a morsel thing/ and navigates this desert by/ our cold dead reckoning/ does anybody have the charts/ coordinates or maps? / a throw of dice, a toss of coin decides/ what Mrs. Luck might bring/ as we navigate this desert by our/ cold dead reckoning/ turmoil, tempest, tall tsunami/ haven't we heard it all before/ await the beast to join the feast/ this party is an open door/ all are welcome, all are joined in/ penitence, if it please the King/ while we navigate this desert by/ our cold dead reckoning." Overall Impression: I don't know the story with albums being released as solo Ian Anderson albums instead of under the Jethro Tull name, as Jethro Tull is technically still together, but I guess because Ian Anderson's solo efforts do have a dash more folk in them than a lot of Jethro Tull's music. Regardless, my favorite tracks from the album would probably be "Enter the Uninvitedm," "Puer Ferox Adventus," "The Browning of the Green," and "Cold Dead Reckoning." Actually, I'm impressed with this album whether you want to look at it as an Ian Anderson solo album, or a mislabeled Jethro Tull release. It is what you should get in a progressive rock concept album - a listening experience instead of a loosely connected collection of songs. - Brandon East. www.ultimate-guitar.com/reviews/compact_discs/ian_anderson/homo_erraticus/index.html
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Post by Deleted on Aug 21, 2014 14:23:49 GMT
Record trade and sale day a hit NAOMI ARNOLD Last updated 14:03 21/08/2014 "People were delighted to be in a place where there was not only a bunch of music to flick through but a bunch of music fans to socialise with," he says. "There's a sense of community-building around music that's never going to happen if you're just downloading things in your house." Records were offered for between $2 and $1000, (for a very rare album by New Zealand band Littlejohn) but mostly ranged around the $10-$20 mark. "One guy found a Jethro Tull record and was highly delighted, held it up in the air and went on about how much he loved Jethro Tull, and the guy next to him said: "Yeah but Jethro Tull's s..., mate". And then they had this amiable argument about the benefits or otherwise of Jethro Tull." "There was a real feeling of that emotional side of being a record fan was getting met by this kind of event. Loads of people said to me they'd had their vinyl out in their shed or in storage for ages, not played, and only in recent times had they bought a turntable or got a new stylus for an existing one and just started to use the vinyl again... Read more: www.stuff.co.nz/nelson-mail/lifestyle-entertainment/entertainment/10408105/Record-trade-and-sale-day-a-hit
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Post by Deleted on Aug 25, 2014 12:46:03 GMT
2014 MTV Video Music Awards - Jethro Tull moment. Blame the innocent party moment>> www.accessatlanta.com/weblogs/atlanta-music-scene/2014/aug/25/beyonce-nicki-minaj-miley-cyrus-make-noise-2014-mt/The Did They Take a Cue from the Grammys? Award: Back when Moses toted around the Ten Commandments – or, OK, 1989 – the Grammys introduced a Best Hard Rock/Metal Performance category and presented the inaugural award to…Jethro Tull. Take away the significance of a Grammy versus a VMA and you had a similar scenario with Lorde inexplicably winning Best Rock Video for “Royals.” Her competition? Actual rock bands Imagine Dragons, Arctic Monkeys, Linkin Park and that hot new group, The Black Eyes, as presenter Trey Songz so adeptly referred to The Black Keys. Ademe Dazeem is very proud. www.starpulse.com/news/Kevin_Blair/2014/08/25/beyonce_ariana_grande_miley_cyrus_big_Newcomers Fifth Harmony surprised the crowd with their win for Artist to Watch, besting 5 Seconds of Summer, Charli XCX, Sam Smith and Schoolboy Q; while Lorde took the Best Rock Video trophy for "Royals," besting the likes of Arctic Monkeys, Black Keys, Imagine Dragons and Linkin Park in the night's Jethro Tull moment. Tuned to crazy imperfection just to score me out of ten.
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Post by Deleted on Aug 25, 2014 12:46:18 GMT
Barre None: Jethro Tull's 10 Greatest Guitar MomentsRead more: www.guitarworld.com/barre-none-jethro-tulls-10-greatest-guitar-moments Posted 08/25/2014 at 5:53am | by Brad Tolinski Guitar World's ode to Martin Barre and Jethro Tull's 10 greatest guitar moments. "With You There To Help Me" "To Cry You a Song" "Aqualung" "Life Is a Long Song" "Thick As a Brick" "Pibroch (Cap in Hand)" "Steel Monkey" "Cross-Eyed Mary" "Passion Play (“Magus Perde”)" "Conundrum" Then he called the band down to the stage and he looked at all the friends he'd made.
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Post by JTull 007 on Aug 25, 2014 15:42:58 GMT
Barre None: Jethro Tull's 10 Greatest Guitar MomentsRead more: www.guitarworld.com/barre-none-jethro-tulls-10-greatest-guitar-moments Posted 08/25/2014 at 5:53am | by Brad Tolinski Guitar World's ode to Martin Barre and Jethro Tull's 10 greatest guitar moments. "With You There To Help Me" "To Cry You a Song" "Aqualung" "Life Is a Long Song" "Thick As a Brick" "Pibroch (Cap in Hand)" "Steel Monkey" "Cross-Eyed Mary" "Passion Play (“Magus Perde”)" "Conundrum" Then he called the band down to the stage and he looked at all the friends he'd made. So many great songs and so many more to choose from. Every song has a riff, a lead, a special moment, when you feel like playing along even if you don't play guitar. "El Niño"
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Post by steelmonkey on Aug 25, 2014 18:43:23 GMT
Life is a long Song? I better listen again for Barre parts. I'd propose the single big chord in 'jack in the Green' I love that chord.
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Post by Deleted on Aug 26, 2014 12:46:02 GMT
2014 MTV Video Music Awards - Jethro Tull moment. Blame the innocent party moment>> www.accessatlanta.com/weblogs/atlanta-music-scene/2014/aug/25/beyonce-nicki-minaj-miley-cyrus-make-noise-2014-mt/The Did They Take a Cue from the Grammys? Award: Back when Moses toted around the Ten Commandments – or, OK, 1989 – the Grammys introduced a Best Hard Rock/Metal Performance category and presented the inaugural award to…Jethro Tull. Take away the significance of a Grammy versus a VMA and you had a similar scenario with Lorde inexplicably winning Best Rock Video for “Royals.” Her competition? Actual rock bands Imagine Dragons, Arctic Monkeys, Linkin Park and that hot new group, The Black Eyes, as presenter Trey Songz so adeptly referred to The Black Keys. Ademe Dazeem is very proud. www.starpulse.com/news/Kevin_Blair/2014/08/25/beyonce_ariana_grande_miley_cyrus_big_Newcomers Fifth Harmony surprised the crowd with their win for Artist to Watch, besting 5 Seconds of Summer, Charli XCX, Sam Smith and Schoolboy Q; while Lorde took the Best Rock Video trophy for "Royals," besting the likes of Arctic Monkeys, Black Keys, Imagine Dragons and Linkin Park in the night's Jethro Tull moment. Tuned to crazy imperfection just to score me out of ten. They keep on kickin' - they just love to mention Tull in this light. 5 Reasons Why the VMAs No Longer Matterwww.huffingtonpost.com/mark-carpowich/five-reasons-why-the-vmas_b_5710523.html?utm_hp_ref=entertainment&ir=Entertainment3. Lack of credibility. The only thing weaker than the field of nominees in some categories were the winners themselves. Drake picked up a Moonman for Best Hip Hop Video for "Hold On (We're Going Home)," a song that features no rapping and, since the show doesn't offer an award for R&B videos, was probably better suited for inclusion in the Pop category. (See number one above for why Drake didn't even bother showing up to accept his award, despite having a four-day hole in his tour schedule.) Best Rock Video, meanwhile, went not to a legitimate rock nominee like Linkin Park or the Black Keys, but rather to Lorde's "Royals," which is the 2014 equivalent of Jethro Tull defeating Metallica for the Grammy for Best Hard Rock/Metal Performance. And the Artist To Watch trophy, as voted on by fans -- at least those in the nation's time zones that saw the show live -- went to Fifth Harmony, a Simon Cowell creation that, based on the response by the crowd inside the Forum every time the award's nominees were shown, were only a fraction as popular as fellow nominees 5 Seconds of Summer or Sam Smith. What a day for laughter
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Post by maddogfagin on Aug 29, 2014 14:44:07 GMT
www.pollstar.com/news_article.aspx?ID=813455DiCesare's Hard Life02:01 PM Thursday 8/28/14Pat DiCesare, one-half of DiCesare-Engler Productions of Pittsburgh and one of the surviving heritage rock promoters, is telling his life story in an upcoming memoir, “Hard Days, Hard Nights.” DiCesare formed the production company in 1973 but his relationship with rock 'n' roll goes back to The Beatles, having been the man who brought the Fab Four to the city in 1964. The book's first sentence is an intriguing quote: “If you want the Beatles to play in Pittsburgh, take $5,000 in cash to the Club Elegant in Brooklyn and leave it with the bartender.” From there, DiCesare details his music career, from bringing red-hot acts like The Beach Boys and The Doors to the Civic Arena to the sale of DiCesare-Engler to Robert Sillerman's SFX for a princely sum. In between are stories about his misfortune of buying the wrong champagne for Led Zeppelin and the pressures of working with a boozy Janis Joplin and a tardy Sly Stone. In the middle of it all is a story industry execs can appreciate involving DiCesare, Ian Anderson and Jethro Tull's agent, Barbara Skydel.The money quote is, “Don’t you ever, ever think you are getting another show from Premier! I will go to any other city but Pittsburgh with all of my acts!”
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Post by maddogfagin on Sept 2, 2014 11:53:37 GMT
www.eveningtimes.co.uk/Evening TimesNobody Knows Glasgow Better Tuesday 02/09/2014 Today's Top 10... Progressive Rock Bands 1 Jethro Tull: Led by Scot Ian Anderson and recognised as one of the leading prog rock bands. 2 Yes: Rick Wakeman played with Yes, who were in the vanguard of the movement. 3 Pink Floyd: Arguably the most successful band to dabble in progressive and psychedelic music. 4 King Crimson: London band led by the charismatic Robert Fripp. 5 Emerson Lake and Palmer: ELP, as they were known, were prog rock's first supergroup. 6 Genesis: The band that spawned Phil Collins and Peter Gabriel and one of the most successful ever. 7 Procol Harum: English band best known for the smash hit Whiter Shade of Pale. 8 Moody Blues: Days of Future Passed was the best known album of the band whose members included Justin Hayward. 9 Van Der Graaf Generator: Well respected prog rock band without achieving commercial success. 10 Focus: Dutch band most famous for hits Hocus Pocus and Sylvia. LINK
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Post by Deleted on Sept 5, 2014 20:59:14 GMT
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Post by steelmonkey on Sept 6, 2014 2:25:41 GMT
Great...blindfold fetish vets...It takes all kinds...and speaking of fetish...someone spank that lady for calling him Ian Alexander.
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Post by maddogfagin on Sept 7, 2014 15:41:16 GMT
blog.mysanantonio.com/weekender/2014/09/best-springsteen-and-worst-vanilla-ice-municipal-auditorium-concerts/Best (Springsteen) and worst (Vanilla Ice) Municipal Auditorium concertsPosted on September 4, 2014 BY ROBERT JOHNSON Jethro Tull, Nov. 12, 1993: Here’s the definition of a trouper: Flutist/band leader Ian Anderson put on a great, two-hour show despite feeling like crap and barely able to sing. After chiding Michael Jackson for postponing shows because he didn’t feel well, Anderson said sarcastically, “What a trouper. I feel dreadful, but I’m here.”
He strained to hit the high notes all evening, but otherwise was his usual Pied Piper-gone-mad self. Some seriously impressive flute work was balanced by serious screwball touches. The stage featured a clothesline with laundry hanging on it and a living room complete with couch, floor lamp, coffee table and TV on a wheeled cart. At times, Anderson took a break to escort guests into the living room for an Evian water toast while the band played on.
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Post by Deleted on Sept 9, 2014 17:25:42 GMT
Iron Maiden Reveal Album Reissue Campaign and 7-inch Re-release Series exclaim.ca/News/iron_maiden_reveal_album_reissue_campaign_7-inch_re-release_seriesDue October 28 are new pressings of 1983's Piece of Mind, 1984's Powerslave and the 1985 concert set Live After Death. In regards to the singles, they include "Flight of Icarus," "The Trooper," "2 Minutes to Midnight," "Aces High," "Running Free" (live) and "Run to the Hills" (live). These come manned with non-album covers of Montrose's "I've Got the Fire," Jethro Tull's "Cross-Eyed Mary" and Beckett's "Rainbow's Gold."
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Post by Deleted on Sept 11, 2014 20:13:18 GMT
Vocalist John Wetton On Why Supergroup Asia Endures - By ED CONDRAN Special To The Courant - 9:47 a.m. EDT, September 11, 2014 www.ctnow.com/entertainment/music/hc-asia-band-playing-infinity-20140912Asia is doing it backwards. Months after the band formed in 1981, it was headlining arenas. But Asia is playing intimate theaters and clubs on its current tour behind its latest album, "Gravitas." Vocalist-bassist John Wetton called from his English home to detail why Asia, who performs Sunday, Sept. 14, at Infinity Music Hall & Bistro in Hartford, is a rare long-lasting supergroup and why guitar whiz Steve Howe left the band. He also reveals why his bandmates wouldn't let him name the group's latest album "Valkyrie." Q: Supergroups never last but Asia has existed in one form or another for 33-years. How do explain that? A: It's true. Supergroups don't last. How long did Blind Faith last? Not very long. They were the norm but we've lasted due to the music. I wasn't part of the group for a long time (1991-2006) but like you said, Asia stayed together in one form or another. Q: You reunited with the original band members in 2006 but in 2012, Steve Howe 'retired' from Asia but he returned to Yes. Did Asia almost splinter after Howe departed? A: We talked about what we wanted to do. Losing a guitarist like Steve would be incredibly difficult for any band. But after he left, the first question we asked each other was, 'Do we want to continue?' We all said, 'yes.' Q: No pun intended. A: (Laughs). Right, when we asked ourselves if we wanted to continue, we all should have said, 'Jethro Tull.' We contacted Toto's Steve Lukather, who worked with us during the '80s, but he wasn't available. But fortunately Sam Coulson was available. Sam comes with no baggage. He's easy and we've been off and running with him. We started working quickly with him. When we started work on this album, all I had was an album title, 'Valkyrie.' Q: But it's not called 'Valkyrie.' A: That's true. (Asia drummer) Carl Palmer thought it was too feminine a name for the album. But in mythology Valkyrie was tougher and stronger than the male figures. Q: Since you're the singer and songwriter, shouldn't you have more say than the drummer? A: It doesn't work that way in Asia. It's a democracy. Q: But aren't rock bands best as fascist regimes? The history of rock reflects that. A: Perhaps but if someone really doesn't want to do something, I won't force the issue. 'Gravitas' was a name that was mentioned and we all liked it and we went with it. But in my head the album is still called 'Valkyrie.' Q: During a recent chat, Kansas guitarist Rich Williams said that Kansas will no longer release new material since fans only care about the vintage material. Is that valid and why were you compelled to release a new album? A: Because that's what we do. I understand the argument about why not to make albums at this point. But I'm incredibly naive. I really believe that there are fans out there that want to hear our new material. They'll listen to the new songs and check out the artwork and the liner notes because they're curious about who engineered 'Gravitas.' Making an album means that we're an organic band. I love writing with (keyboardist) Geoff Downes. That's a match made in heaven. So we're out there playing new songs and we love that. Q: You also play the old hits. You've never had a problem playing 'Heat of the Moment,' 'Only Time Will Tell' or 'Don't Cry.' A: I know some bands don't like playing a song they played a million times but we're not that way. I still love it and I'd better because the fans want to experience those songs again. I know when I see bands, I want the hits. Most people do. I remember when we did so well with that first album. Q: What was that like? A: It was crazy. We were practicing in Lititz, Pennsylvania, and one of the industry tip sheets, the Friday Morning Quarterback, was touting our album. They said it would be big and it all happened quickly. 'Heat of the Moment' became a big hit right out of the gate. Q: Did you have any idea that it would become a monster or did it, like many hits, almost not make the album? A: (Laughs) It almost didn't make the album. Steve Howe didn't like it one bit. He thought it was too poppy. How funny was it that the band he left made '90125,' which was so poppy. Steve didn't like the opening guitar intro to 'Heat of the Moment' either Q: But you made him do it. A: Yes. Q: So much for a democracy. A: Yes, but looking back I think that was the right decision. 'Heat of the Moment' started it all for us. I can't help but look back at that song fondly. I'll sing it until I can't sing anymore. ASIA appears Sunday, Sept. 14, at Infinity Hall, 32 Front St., Hartford. Tickets are $80 and $110. Show time is 7:30 p.m. Information: 866-666-6306 and www.infinityhall.com
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Post by Deleted on Sept 12, 2014 15:08:44 GMT
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Post by maddogfagin on Sept 23, 2014 8:48:54 GMT
From Yahoo Answers Is Jethro Tull an atheistic rock group?The album "Aqualung" seems to be the most atheistic record that I have ever heard, but then, about five years later, Tull released the song "Ring Out Solstice Bells." That makes me think they're into pre-Christian religions. So what is it? Are they atheists or "pagans"?answers.yahoo.com/question/index?qid=20131114143939AAMEmFD
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Post by JTull 007 on Sept 23, 2014 11:33:13 GMT
From Yahoo Answers Is Jethro Tull an atheistic rock group?The album "Aqualung" seems to be the most atheistic record that I have ever heard, but then, about five years later, Tull released the song "Ring Out Solstice Bells." That makes me think they're into pre-Christian religions. So what is it? Are they atheists or "pagans"?answers.yahoo.com/question/index?qid=20131114143939AAMEmFD The band is just a band. Each one has their own personal view unlike Christian Rock Bands.
I was always rebellious back then too and being skeptical about organized religion is healthy. "My God" is more about historical guilt that the Church of England must atone to. "Roots to Branches" is another more recent observation. Ian loves Christmas in all it's forms.
This year the band does not play on Halloween night. Everyone will be out Trick or Treating
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Post by Deleted on Sept 25, 2014 19:04:20 GMT
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Post by Deleted on Sept 25, 2014 19:08:30 GMT
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Post by Deleted on Sept 26, 2014 14:39:55 GMT
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Post by Deleted on Sept 26, 2014 17:35:05 GMT
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Post by Deleted on Sept 30, 2014 19:34:20 GMT
The Tea Party come to Halifax November 20 at the Olympic Hall Nostalgiafest 2014 continues Posted By Stephanie Johns on Tue, Sep 30, 2014 at 12:49 PM www.thecoast.ca/TheScene/archives/2014/09/30/the-tea-party-come-to-halifax-november-20-at-the-olympic-hall The Tea Party—which at least one press release has informally dubbed a "Canadian exotic rock trio"—is coming to Halifax promoting its latest album The Ocean At The End, and simultaneously save itself from becoming a disambiguation (get it? SAVE itself? Saaaaaaaave itself?). Fun fact! Jethro Tull's Ian Anderson plays flute on The Ocean At The End's title track...
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Post by maddogfagin on Oct 2, 2014 15:31:04 GMT
Readers recommend: songs featuring flutes, pipes or whistles – resultsFrom Debussy to Mbuti Pygmies, RR veteran magicman, aka Ralph Brown, gives a blow-by-blow account of song choices from last week's topic Ralph Brown Thursday 2 October 2014 www.theguardian.com/music/musicblog/2014/oct/02/readers-recommend-songs-featuring-flutes-pipes-or-whistles-resultsYou knew they’d be here … Jethro Tull. Photograph: Gai Terrell/RedfernsPipes, flutes and whistles, often haunting, sometimes contemplative, may accompany dancing or weeping, are also undeniably phallic and perhaps the second-oldest instrument known to humans. Prélude à l’après-midi d’un faune, written in 1894, is Claude Debussy’s impressionistic take on Mallarmé’s poem where the flute plays most of the 12-minute melody. It is the most beautiful piece of music ever written to these ears and kickstarted modern classical music. Pan playing his pipes: playful and sexual, fecund and fun, pre-Edenic and wickedly innocent. Ian Anderson updated Pan for the late 60s and Jethro Tull’s huge hit Living In the Past left an enduring image of the flute as an attachment of an eyebrow-wiggling jester on one leg. Anderson was inspired by all-time inspirational player Roland Kirk who blew through everything ever invented and is on sensational form here, playing through his nose and mouth on his signature tune Serenade to a Cuckoo. The live version from Montreal jazz festival 1972 is astonishing. He also plays the lead line on Quincy Jones’s evergreen Soul Bossa Nova, recorded in 1962. Undisputed champion of the Irish tin whistle is 86-year-old Mary Bergin, whose two Feodóga Stáin albums are unsurpassed in the genre. From the first one, a jig: Tom Billy’s/The Langstern Pony. Her playing is so clear and clean. Popular music went through a phase in the late 60s/early 70s when it was de rigueur to have a flautist in your line-up : the aforementioned Tull, Van der Graaf Generator, Traffic, King Crimson, Curved Air, Focus, Audience, Nick Drake, Van Morrison, Caravan, Genesis, Quintessence and the Moody Blues all championed the instrument, often stopping a song in mid-flow to showcase a flute passage, as in Legend Of a Mind, the Moody’s paean to Timothy Leary. Herbie Hancock’s bottle-whistle jump-start jazz standard Watermelon Man was inspired by listening to the Mbuti Pygmies playing a single-note flute on a tune called Hindewhu on an ethnomusicalogical African LP, which gets the nod over Hancock’s inspired reworking. Tom Hark is a standard which originated in the township kwela music of Elias and his Zig Zag Jive Flutes, top line by indomitable Jack Lerole, heard here playing dominoes before a skiffle-esque busk into a tune now chanted on football terraces after the Piranhas covered the hit in the 1970s. Updated to the electric 1980s, kwela has its most muscular and thrilling manifestation in the music of Mahlathini & the Mahotella Queens on Thokozile. Irresistible. There isn’t time or space to circumnavigate the world of flute music: amazing contributions from Romania, Brazil, Bolivia, Turkey, China and India sadly been put aside for the dual recorders of Brandenburg Concerto 4 1st movement, which is a simply breathtaking piece of music written by JS Bach in 1721. Just room to squeeze in a personal favourite from 1969 and the wonderful woodwind player Dave Jackson here supporting singer Peter Hammill on early Van Der Graaf Generator song Out Of My Book. And with that, it’s farewell from the wonderful world of flutes and pipes. I’ll leave you with a slice of bliss from Japanese master of the shakuhachi (or bamboo flute) Hozan Yamamoto, here playing Komoriuta (Lullabye) with Utazumi Kunishige accompanying him on koto. Yamamoto died earlier this year, garlanded with awards. His music will live on. The A-List 1. Prélude à l’après-midi d’un faune – Claude Debussy 2. Living in the Past – Jethro Tull 3. Serenade to a Cuckoo – Roland Kirk 4. Soul Bossa Nova – Quincy Jones 5. Tom Billy’s/The Langstern Pony – Mary Bergin 6. Legend Of a Mind – the Moody Blues 7. Hindewhu – the Mbuti Pygmies 8. Tom Hark – Elias and His Zig Zag Flutes 9. Thokozile – Mahlathini & the Mahotella Queens 10. Brandenburg Concerto 4 (1st movement) – JS Bach 11. Out Of My Book – Van Der Graaf Generator 12. Komoriuta (Lullabye) – Hozan Yamamoto
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Post by maddogfagin on Oct 7, 2014 13:44:07 GMT
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Post by Deleted on Oct 9, 2014 2:23:28 GMT
Record World Early '70s: Moving Up by Showing Up - Michael Sigman (This is an excerpt from the forthcoming book, Field Notes from a Music Biz Life.) www.huffingtonpost.com/michael-sigman/record-world-early-70s-mo_b_5956280.htmlJethro Tull frontman Ian Anderson, my first interviewee, came in with an attitude. Before I could say "what's happening," the hirsute flute-playing British rocker gave me a dressing down for dressing up. By wearing a sports jacket, it seemed, I was selling out to The Man. I quickly clicked on the tape recorder and asked the magic question, and Anderson, to my great relief, stopped railing against me and instead railed against the record industry.
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Post by Deleted on Oct 9, 2014 12:25:08 GMT
Author Robert Greenfield Goes Behind the Music With The Rolling Stones (INTERVIEW)Read more: www.glidemagazine.com/125067/author-robert-greenfield-goes-behind-music-rolling-stones-interview/Did you see Free? Did I see Free? I can’t believe you asked me that (laughs). I went to a Top Of The Pops, I got snuck in. I wrote a piece about there were people, young teenage girls were OD’ing, and Muff Winwood, Stevie’s brother, who may have been managing Free, snuck me in with the band and I was hanging out with Paul Rodgers and Paul Kossoff. I have never seen anybody, well, I have, but Paul Kossoff was so stoned and so loaded, and then later died, but I don’t have a distinct memory of seeing Free there. Who else was there? Do you have a list? (laughs) Why would you know that Free was there? That’s insane. Isle Of Wight was in 1971. Let’s see who was there and see who I remember (laughs). The Doors were there and I thought they were awful. I thought it was really bad. I saw Kris Kristofferson, John Sebastian, Terry Reid. Miles Davis was astonishing. Jethro Tull was incredible. They were fabulous. It was pretty amazing. It was out of control. The people broke down the fences and stormed the festival. It was a free festival. It’s never really been written about but the Isle Of Wight is extraordinarily beautiful and there was an incredible beach right below where the festival was and there were hundreds of naked people on the beach. And the dope smoking and maybe it’s like that at Bonnaroo but somehow I don’t think so (laughs) Who wouldn’t want to go on tour with their favorite band? Getting to hang out by the side of the stage watching them perform, sitting in the car next to them as they are sped to their next destination, privy to their private backstage foibles. It’s a dream that almost never comes true. But for Robert Greenfield, in 1971, it did happen. Music journalists in the seventies had somewhat of a carte blanche with the musicians they were covering, something that is just unheard of in today’s world.
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Post by Deleted on Oct 9, 2014 13:28:19 GMT
Jethro Tull- My God- HD apostolos mitropoulos Published on Oct 9, 2014
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Post by steelmonkey on Oct 9, 2014 17:23:08 GMT
Did I see Free? Hell yes, I saw Free...my first concert ever,,,A triple bill in a Denver cow shed. First John Martyn, then Free, then 'Low Spark' tour Traffic. I must have been about 14 or 15. Pot was smoked, the rolling papers were colored/flavored (orange? Mango?), curfew was missed, school the next day was shaky, life was GOOOOD.
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Post by Deleted on Oct 9, 2014 17:50:44 GMT
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