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Post by maddogfagin on Aug 18, 2010 8:13:52 GMT
Speaking of the Cambridge Corn Exchange, I saw Tull there in '95 and that was the gig when Martin Barre had equipment problems and IA did a couple of unrehearsed solo songs while the roadies fixed the equipment - magic moment from IAI was there too....Tull unplugged....yes, it was a moment to cherish. I got home at 10.56, or thereabouts, after an uninterrupted run up the A14 to Huntingdon :-) Pete McHugh at Electrocutas doesn't have the set list for Cambridge - the nearest I can find is this which is probably what they should have played. And Further On/Fylingdale Flyer/Protect And Survive medley Roots To Branches Rare And Precious Chain Out Of The Noise Valley In The Grip Of Stronger Stuff At Last Forever Dangerous Veils Beside Myself Aqua-intro - Aqualung - Aquadiddley -------Interval ------- Nothing Is Easy We Used To Know In The Moneylender's Temple My God Misere Fat Man Budapest Like A Tall Thin Girl Wounded Old and Treacherous Locomotive Breath Jump Start Instrumental Finale Thick As A Brick reprise Can't remember what songs were dropped/omitted or the ones IA played during the "re-arranged" part of the set.
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Post by Aqualung55 on Aug 18, 2010 10:23:39 GMT
Hey up, lad. I can confirm that your assumed list is correct, from the Stevie G archive, but I noticed that you had the gig when Martin's amp packed up as 1995. It was actually 1999 when that happened - as I know who was with me at that gig, and they confirmed. In 1995, which was the Roots To Branches tour, I dragged along Jon Sheffield, the Cambridge United goalkeeper at the time, who was without doubt the one player I knew from those days (1990 - 98, when I was Secretary there) who had more than a good sense of musical taste. On away trips, with other players either playing cards or reading The Sun, he would sit with his Walkman headphones on listening to the likes of the Screaming Trees!
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Post by Aqualung55 on Aug 18, 2010 10:26:51 GMT
From the Greenall archive again - the "acoustic tracks" played when Martin's amp went Pete Tong were:
Witches Promise, Jeffrey Goes To Leicester Square and Fat Man
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Post by maddogfagin on Aug 18, 2010 11:29:09 GMT
Hey up, lad. I can confirm that your assumed list is correct, from the Stevie G archive, but I noticed that you had the gig when Martin's amp packed up as 1995. It was actually 1999 when that happened - as I know who was with me at that gig, and they confirmed. In 1995, which was the Roots To Branches tour, I dragged along Jon Sheffield, the Cambridge United goalkeeper at the time, who was without doubt the one player I knew from those days (1990 - 98, when I was Secretary there) who had more than a good sense of musical taste. On away trips, with other players either playing cards or reading The Sun, he would sit with his Walkman headphones on listening to the likes of the Screaming Trees! Must be condensing two gigs into one !! I didn't go to the one in '99 at the Corn Exchange, only the one in '95. I had a standing only ticket and I'm sure that there were problems at the '95 gig which made IA do a solo spot. I maybe wrong but I've never heard of a boot of that gig so I can't be sure.
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Post by maddogfagin on Oct 28, 2010 16:06:52 GMT
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Post by nonrabbit on Oct 28, 2010 20:12:45 GMT
never mind Ians' archives what other treasures do you have hidden in the cellars at Lawwwwwwnson Towers? great stuff
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Post by bunkerfan on Oct 29, 2010 9:01:30 GMT
I've just been checking the seating plan for The Cty Hall (how sad is that?) you had a really good seat maddog, right smack in the middle, mine on the other hand was in the side stalls. Just to prove I couldn't have blocked your view. Phew! thats that taken care of. Great concert by the way!
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Post by maddogfagin on Oct 29, 2010 10:19:09 GMT
I've just been checking the seating plan for The Cty Hall (how sad is that?) you had a really good seat maddog, right smack in the middle, mine on the other hand was in the side stalls. Just to prove I couldn't have blocked your view. Phew! thats that taken care of. Great concert by the way! Many apologies - yes it was a great concert as was all of that tour. We hired a left hand drive Volkswagon campervan which had a habit of breaking down now and then, but it was good to meet up with so many folks, especially at the Hammersmith concerts.
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Post by maddogfagin on Oct 29, 2010 10:23:38 GMT
never mind Ians' archives what other treasures do you have hidden in the cellars at Lawwwwwwnson Towers? great stuff Loads of photographs which I have been sent over the years but miserably failed to note on the back of them where they came from or who sent them to me. I think I'll post a few more soon and do a blanket apology for not acknowledging the source but in the mean time I'd be very interested to see what other folks have in the way of images etc.
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Post by maddogfagin on Jan 29, 2014 13:43:37 GMT
From 2009. Ian Anderson at Exeter Cathedral.
Spiritual setting is feast for Ian's flute
Jethro Tull's frontman tells Jackie Butler why he's so excited about his fundraising concert at Exeter Cathedral
THE hallowed heights of Exeter Cathedral will reverberate to the tones of a rather different Christmas concert this month when Jethro Tull frontman Ian Anderson presents an acoustic performance for everyone who loves the spirit of the season.
The fundraising show on December 22 will support the cathedral's Third Millennium Campaign.
"It is not necessarily about the Christian festival," explains flute maestro and guitarist Ian who has fronted the experimental folk rock band for some 40 years.
"It is about all of us and that pivotal time towards the end of one year and the beginning of the next.
"We have a generic memory of the winter solstice as a time of rebirth. In purely geophysical terms we have a sense of it being a time of new beginnings.
"The Anglican church is used to interpretation and is generally less dogmatic, which is why I am happy to support it and the bricks and mortar part of our history.
"I feel quite invigorated by the sense of spirituality in the church and people coming together with some higher force."
Ian, who will spend Christmas Day in Wiltshire with his family and menagerie of animals, had never set foot in the cathedral until earlier this year when it was recommended as a venue and worthy cause to support by the Rev George Pitcher of St Bride's Church in London, the venue of Ian's last Christmas revels.
"Exeter Cathedral is a splendid example of architectural excellence and a glorious venue for those of all faiths, or none at all, to enter the House of the Holy and participate in the welcoming world of Christmas celebration.
"Whether your Christmas is a secular affair of gift-giving and family togetherness or a more worshipful recognition of one of the two big days in the Christian calendar, join us for some uplifting Christmas spirit, music, readings and maybe even a prayer or two."
The concert is part of a special end-of-year tour which sees Ian and his touring band – sadly without Devon-based Tull guitarist Martin Barre who has broken a finger [see post below] – perform nine Christmas- themed shows in the Czech Republic and Germany, before heading for the Westcountry. As well as playing acoustic versions of some Jethro Tull classics, there will be seasonal and ecclesiastical songs, including new material written especially for this tour.
The Exeter date takes place on the birthday of Ian's daughter Gael (who is married to the actor Andrew Lincoln); one of the newer songs he will perform and – dedicate to Gael – is Birthday Card at Christmas, a reminder that it's not only the notional birth period of Jesus Christ, but that lots of people share birthdays at this time of year.
There will also be songs from the Jethro Tull Christmas Album of a few years back, and some perennial fan favourites.
"But I must stress that this isn't a Jethro Tull rock show – so it's not one for the headbangers or the slightly inebriated rock and roll crowd," says Ian. "The acoustics in the building are such that anything with percussive qualities can be tricky. Bring a drum kit into a church and you are asking for trouble – we don't let that stop us, though."
The Third Millennium Campaign is seeking to raise £8 million to support several areas of the traditional life of Exeter Cathedral, including the future of music and choral singing, restoration work to the organ, repairs and renovations to the building and to expand the library and archives.
The Dean of Exeter, the Very Reverend Jonathan Meyrick, is thrilled that Ian has chosen the cathedral as a venue for the show.
"I thank him for giving his time so generously to support the cathedral's campaign. I encourage both new and existing Jethro Tull fans to experience the magic of the band this Christmas within this wonderful setting that is our cathedral," he says.
____________________________________________________________________________
And from March, 2010
Guitarist gets break that he didn't want
Jethro Tull mainstay Martin Barre explains to Jackie Butler how he's back in peak condition after a boating accident
A FEW months ago Jethro Tull's Martin Barre experienced what could be described as every guitarist's nightmare – he broke one of his fingers. It was a stormy autumn night and Martin was out in the thrashing rain and howling wind trying to secure his boat to its moorings in Plymouth's Queen Anne's Battery when the third digit on his left hand got jammed between the craft and its rope.
"It was a most bizarre thing," explains Martin, now match-fit and eagerly anticipating the band's show at Torquay next week – part of their 23-date UK tour.
"At the hospital I was told I had a broken finger and I'd need to give it six weeks to heal. I said I'm a guitarist and I've got a gig in six weeks."
Luckily there was a specialist passing by who heard the magic word "guitarist" and, having come across this sticky situation before, advised Martin to keep his finger taped up for just a couple of weeks then gradually start using it again.
"It was a horrible time, but six weeks later I was actually back on the road on tour," says Martin, who tends to dip those valuable guitar fingers in a range of different musical pies, including solo recordings and gigs – not to mention collaborations with young rising Westcountry artist Dan Crisp (see below).
"I'm passionate about the arts in the South West; I think they are quite well represented," confirms Martin, who lives with his wife, Julie at Yealmpton, after bringing up their now adult children near Colyton in east Devon.
"I wouldn't want to live anywhere else. I love it in the South Hams. The coastline is beautiful, the countryside is beautiful and there's lots of great food too."
It also gives Martin and Julie the chance to fulfil a long-held ambition to take to the water – hence the aforementioned boating incident.
He made his recovery just in time to play 13 big arena performances in Germany with the Celtic rock opera Excalibur, which he describes as Riverdance meets the Cirque du Soleil.
"It was so much fun," says Martin, who had worked in the past at his old Devon studio with the show's writer and producer Alan Simon and also got involved through his connections with Fairport Convention.
"The whole show is spectacular and I'm hoping they will bring it over to England. There were acrobats and Irish dancers and a 40-piece orchestra. It's quite easy music, but there was freedom to play with it a little."
Martin is now happy to put the broken finger into his back catalogue of "stupid little things" – including the odd close shave with a sharp knife while constructing a cheese sandwich – that have temporarily stopped him doing what he does best. With the digit "a little podgy, but it works OK", he is now ready for the more disciplined guitar work demanded by a live show with Jethro Tull, the band he joined in 1969 at the age of 22 in time to record the classic second album Stand Up and perhaps their best-loved single, Living in the Past.
The albums Benefit, Aqualung, and Thick As A Brick followed and the band achieved international success. Martin and charismatic front man and composer, flautist and singer Ian Anderson are the mainstays of a group credited as frontrunners of the prog rock movements.
In their heyday Jethro Tull's live reputation and status was on a par with much more commercial acts like the Rolling Stones and Elton John, in spite of their distance from the pop and rock norms of the day. In recent years their fanbase has been boosted by a new generation fascinated by the sounds of the Sixties and Seventies.
"It's amazing how many young people I meet who are into artists like Led Zeppelin and Jimi Hendrix, and they know so much about the bands from that time," says Martin.
Over the past 40 years they have grown and developed, defying labels and genres to present a grown-up melee that draws inspiration from the folk, jazz, rock and classical worlds.
Currently Doane Perry, veteran Tull drummer of some 24 years experience, together with John O'Hara on piano and accordion, and David Goodier on bass guitar complete the live line-up.
The setlist for the current tour features some of their "Best of Tull" repertoire, but with a sprinkling of rare gems thrown in – they do, after all, have around 30 albums of material to choose from.
"We do get people who love the band from the old days who reel off all the tracks they want to hear. Of course we will always play the most popular older songs, but we don't want to do only that," says Martin.
"On this tour there will actually be three or four pieces of music that nobody will ever have heard played live before, plus we'll put in a few from Ian's solo albums and maybe a couple of mine just to mix things up a bit."
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Post by maddogfagin on Feb 8, 2014 19:05:16 GMT
www.theage.com.au/The flute of his laboursBy Warwick McFadyen May 1, 2005 Jethro Tull's tootling frontman Ian Anderson talks to Warwick McFadyen about rocking out with Hendrix, producing prog rock albums as a joke and risking deep vein thrombosis to tour Australia for the first time in almost 10 years. 'I was the Jimi Hendrix of the flute." So says Ian Anderson, grand master of British band Jethro Tull. Anderson, songwriter, vocalist, flautist, guitarist, is recalling thedays in the late '60s when the band played support shows to Hendrix. The legendary guitarist was at the peak of his powers, the revolutionary of the Strat. Jethro Tull were building a solid following after starting as a blues-based band and then branching out from its roots to many and varied musical branches. The greatest point of difference, then as now, was Ian Anderson's flute. "I wasn't going on to compete against Jimi Hendrix on an equal level," he says. "I guess he thought of me as this guy who was giving him a hard time because I had an unfair weapon of mass destruction at my disposal that he couldn't play. "I don't think Jimi ever went on stage thinking, 'That guy might blow me off stage'. I'm not suggesting animosity, but artists are a little nervous of each other in that way." Ian Anderson has very little to be nervous about these days. He has been the foundation upon which the mighty house of Tull has prospered for nigh on 40 years. There have been many residents during that time - 30 musicians, according to David Rees, author of Minstrel in the Gallery, a biography of the band. He also writes that the group (as of 1998) had sold more than 50 million albums, played more than 2000 concerts and received 44 platinum, gold and silver awards. The one constant throughout has been Ian Anderson. But time has its way even with the most indomitable of edifices. These days, Anderson's long tousled hair, which seemed caught in a perpetual squall, is gone; so, too, the codpiece and the medieval garb. But the banter is still there, the constant flow of words and opinions about all manner of things, from deep vein thrombosis (a condition he suffered from during his last trip to Australia) to the state of modern music. He is also an advocate for cats, both the domestic kind and the small, wild endangered species of the world. "Sting got the rainforests, and I got the small cats," he jokes. Oh yes; he also owns fish farms in Scotland. You don't really have an interview with Ian Anderson. You get a listening opportunity, in which key words are tossed out into the river and the current goes in that direction, occasionally washing over or around a boulder rude enough to interrupt midstream. When you've been spokesman of a band for four decades, perhaps you've earned a degree of latitude to natter on. And perhaps that tendency becomes more acute the longer it survives. Jethro Tull today (left to right): Jonathan Noyce, Andrew Giddings, Ian Anderson, Martin Barre, Doane Perry. Jethro Tull today (left to right): Jonathan Noyce, Andrew Giddings, Ian Anderson, Martin Barre, Doane Perry. But then, it also helps that Anderson is frightfully articulate. He elucidates with glissando; he opines with gentle self-mockery and a swift rapier-like wit. And he has many stories to tell. For instance, the genesis of Thick as a Brick (1972), the album that will forever stand as the band's monument. It turns out this great prog-rock project (the term is short for "progressive rock", and covers the sort of long-winded self-important concept album that the early and mid-1970s seemed to breed by the dozen) was all a bit of a joke, conceived, composed and executed on a wing and a prayer. "Jethro Tull only progressed into prog rock as a spoof, tongue-in-cheek way with Thick as a Brick and A Passion Play (1973), which were two prog-rock concept albums that were designed to exploit and make fun of that particular musical genre at that time," Anderson says. "I think we always had more of a sense of humour about us than certain other of our contemporaries, who took it all quite seriously. About 50 per cent of Americans didn't get the joke, and I think in Japan nearly all of them didn't get the joke, which is why Jethro Tull were never big in Japan." To be fair to those who missed the joke, Thick as a Brick did look and feel - with its gatefold album cover representing a 12-page newspaper from the English countryside called The St Cleve Chronicle and with its screaming coverage of the travails of little Gerald Bostock, aged eight, who allegedly wrote all the lyrics to the album - rather a lot like the real thing. In fact, Anderson claims, he wrote the music on the hop. In an interview a few years ago, he explained how he composed the piece as "an act of extreme bluffing on a daily basis". "I remember (thinking), 'Right, next piece of music we have today, to add to the rest of the stuff as we built it up, is such and such', and I had only written it that morning because I kept, you know, literally, going back after we had rehearsed something at night and sort of feverishly writing the next piece. I would come in the next day and pretend it was all part of some master plan, some grand scheme, whereas in fact, of course, I was only making it up as I went along." Whatever the manner of conception, it worked. Thick as a Brick took the band to the top of the US album chart. Coming off the back of Aqualung the previous year, it established Jethro Tull in a niche market of one. No other band had the confluence of musical styles, the panache of British idiosyncrasies, which manifested itself in its stagecraft, or the charisma of a lead man who more often than not while performing stood like a one-legged gull, breathing heavily into his flute. Through the '70s, the band released a string of albums - War Child, Minstrel in the Gallery, Songs from the Wood and Heavy Horses - that built on the group's persona as a creature weird and wonderful from the English countryside. Like many other bands from the late '60s and early '70s, Jethro Tull took something of a battering at the end of that decade and into the '80s as the musical tide ebbed and flowed and the next new thing was always just around the corner. But Jethro Tull kept recording and touring, albeit with a regularly changing line-up. Special mention here must be made of Martin Barre, who has been Tull's guitarist almost since the band's inception. There are some killer riffs in rock, but Barre's playing on the opener of Aqualung is unequalled in its dark menace.
That album's composition occurred in a musical period - the late '60s and early '70s - that Anderson describes as "producing the underlying bedrock of great rock music". Not content with that assertion, he goes further. "There will," he says boldly, "be no new rock music". And here's why. "If you look at today's successful bands you can't but hear the echoes of Led Zeppelin or Queen. You can't see The Darkness without thinking, 'Well this couldn't have existed without them', the two bands I mentioned. That applies to a lot of standard middle-of-the-road heavy rock today. It's just another take on an old idea. "There's nothing wrong with it, (but) it's not groundbreaking, it's not earth-shattering. We've heard most of these ideas before. It's just that these folks are today's version of what's been before and they do it very well, and they're keeping alive the traditions of a definitive musical genre. Rock music is definitive, and it's embraced a lot of varieties of styles, but there is no new rock music and there will be no new rock music. It's as clear as a bell. No one could argue against it. Essentially the genre is defined. It's not going anywhere." Anderson sees the formula of good rock music as universal, despite the year in which it is composed. "For the lifetime of the human ear physiology, great music will require a lot of repetition, simple melodic structure and simple harmonic structure." And the subject matter? "Boy/girl fall in love, boy/girl fall out of love." Not that Jethro Tull has followed that formula. That would be too obvious. The last time the band toured Australia, almost 10 years ago, was not a happy time for Anderson. Before that tour he had injured his leg on stage in South America, but the extent of the injury wasn't picked up until he was diagnosed by doctors in Australia with deep vein thrombosis ("a blood clot from his ankle to his groin", he claims they told him) that was life-threatening. He is now well versed in DVT lore, and how to help in its prevention. Still, this tour has thrown up anxieties. "I can't say that flying to Australia is not something that I'm a little nervous about," he admits. Perhaps a flute or two of whatever takes his fancy during the flight might help.
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Post by maddogfagin on Jan 5, 2015 11:58:40 GMT
www.ohio.com/Local history: Anti-drug crusaders nearly unplugged rock concerts at Coliseum in 1975By Mark J. Price Beacon Journal staff writer Published: January 4, 2015 - 07:51 PM | Updated: January 4, 2015 - 10:57 PM Complete article hereHowever, the sheriff was still deeply concerned about the Jethro Tull concert scheduled for February. He requested an injunction to ban the concert.
Summit County Prosecutor Stephen M. Gabalac could find no legal grounds to stop the show. “We immediately started hitting the books,” Gabalac said. “We’re satisfied that an injunction could not be granted.”
The Coliseum beefed up security for the Jethro Tull show, even adding guard dogs, but the Feb. 21 concert featuring flute-playing singer Ian Anderson was peaceful, as was an April 4 concert by shock rocker Alice Cooper.
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Post by JTull 007 on Jan 5, 2015 16:32:52 GMT
www.ohio.com/Local history: Anti-drug crusaders nearly unplugged rock concerts at Coliseum in 1975By Mark J. Price Beacon Journal staff writer Published: January 4, 2015 - 07:51 PM | Updated: January 4, 2015 - 10:57 PM Complete article hereHowever, the sheriff was still deeply concerned about the Jethro Tull concert scheduled for February. He requested an injunction to ban the concert.
Summit County Prosecutor Stephen M. Gabalac could find no legal grounds to stop the show. “We immediately started hitting the books,” Gabalac said. “We’re satisfied that an injunction could not be granted.”
The Coliseum beefed up security for the Jethro Tull show, even adding guard dogs, but the Feb. 21 concert featuring flute-playing singer Ian Anderson was peaceful, as was an April 4 concert by shock rocker Alice Cooper. When Crofoot attended the Elton John concert Nov. 4, 1974, however, he detected a sickly sweet odor of marijuana in the hazy auditorium. LOL! Those darn Elton John Hippies are at it again! Someone do something before we all get HIGH!
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Post by maddogfagin on Jan 26, 2015 9:38:07 GMT
This day in pop culturePosted: Thursday, January 22, 2015 www.thedaonline.com/arts_and_entertainment/article_932b4a64-a223-11e4-bf7b-87557d906fa4.htmlJethro Tull, the famous British quartet, performed for the first time ever on U.S. soil January 22, 1969 at the Fillmore East. Made up of Mick Abrahams, Ian Anderson, Martin Barre and Clive Bunker, Jethro Tull was one of the most eclectic rock ‘n roll groups of its time, winning a Grammy for Best Hard Rock/Metal Performance. With a bit of the blues and some jazz influences, Jethro Tull remained a U.S. chart-topper for years alongside the Beatles and others of classic rock’s most famous rock groups. Their performance at the Fillmore East in New York pole-vaulted the band into U.S. stardom in the late ‘60s.
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Post by maddogfagin on Feb 23, 2015 17:00:24 GMT
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Deleted
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Post by Deleted on Apr 13, 2016 14:18:40 GMT
Looking Back: Jethro Tull concert at Municipal Auditorium in 1972Ian Anderson, leader of Jethro Tull, materializes from a cloud of smoke before nearly 9,000 delirious fans at the Municipal Auditorium Oct. 24, 1972. Jimmy Ellis / The Tennessean In opening their concert at Municipal Auditorium Oct. 24, 1972, Ian Anderson leads Jethro Tull into "Thick as a Brick," the title song and only song of their fifth album that was released this year. Jimmy Ellis / The Tennessean Ian Anderson, leader of Jethro Tull, contorts wildly while performing "Thick as a Brick" that lasted 75 minutes and included two comedy routines, a 15-minute flute solo and seven-minute drum solo at Municipal Auditorium Oct. 24, 1972. Jimmy Ellis / The Tennessean Ian Anderson, leader of Jethro Tull, takes a smoke break as he talks with his fans during their performance of "Thick as a Brick" before nearly 9,000 delirious fans Oct. 24, 1972, in the Municipal Auditorium. Jimmy Ellis / The Tennessean Ian Anderson, leader of Jethro Tull, makes one of his many bizarre facial expressions as he talks with his fans as the group performs "Thick as a Brick" before nearly 9,000 delirious fans Oct. 24, 1972, in the Municipal Auditorium. Jimmy Ellis / The Tennessean Jethro Tull leader Ian Anderson, left, switches to his flute as he performs "Thick as a Brick" with band mates guitarist Martin Barre and pianist John Evan before nearly 9,000 fans at Municipal Auditorium Oct. 24, 1972. Jimmy Ellis / The Tennessean Jethro Tull leader Ian Anderson, second from left, switches to his flute as he performs "Thick as a Brick" with band mates bass guitarist Jeffrey Hammond-Hammond, left, and guitarist Martin Barre before nearly 9,000 fans at Municipal Auditorium Oct. 24, 1972. Jimmy Ellis / The Tennessean Jethro Tull leader Ian Anderson, second from left, switches to his flute as he performs "Thick as a Brick" with band mates bass guitarist Jeffrey Hammond-Hammond, left, guitarist Martin Barre and pianist John Evan before nearly 9,000 fans at Municipal Auditorium Oct. 24, 1972. Jimmy Ellis / The Tennessean Ian Anderson, leader of Jethro Tull, contorts wildly while performing "Thick as a Brick" that lasted 75 minutes and included two comedy routines, a 15-minute flute solo and seven-minute drum solo at Municipal Auditorium Oct. 24, 1972. Jimmy Ellis / The Tennessean
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Post by JTull 007 on Apr 13, 2016 15:29:57 GMT
LOVE THESE IMAGES FROM 1972 !!!! Well done Sir TooTull Crank up the TULL FOG ! Ministry of INFO... 4/10/72 Municipal Auditorium Nashville, Tn. USA Support: Tull and Gentle Giant sources report that Gentle Giant were definitely not on the bill, and Tull were possibly supported by Brewer and Shipley. However, two audience members recall that Gentle Giant did appear, and it was the 21/5/73 concert at this venue which was supported by Brewer and Shipley "One Toke Over The Line Sweet Jesus"
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Post by maddogfagin on Apr 13, 2016 15:38:57 GMT
Thanks for posting these John. A great find Sir
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Post by bunkerfan on Apr 13, 2016 18:39:54 GMT
Thanks for posting these John. A great find Sir I totally agree. Amazing photographs from a great Tull year.
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Post by nonrabbit on Apr 13, 2016 20:23:49 GMT
Absolute gems
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Post by bunkerfan on May 7, 2021 18:19:44 GMT
This is what Jethro Tull (who else) who uploaded the footage had to say about it............
Jethro Tull live video from Boston Garden November 2, 1972. I traded for this super 8 video well over 40 years ago. I found it recently and had it converted to digital. The quality is a pleasant surprise. I sync'd it with two different audio recordings from that concert. Especially nice to see Jeffrey in action.
0:00 1. Thick As A Brick 1 1:17 2. Keyboard Instrumental 1:47 3. Thick As A Brick 2 2:22 4. Flute Solo 3:19 5. Thick As A Brick 3 3:35 6. Jeffrey: "Ian is playing a rhythmic link sequence . . ." 3:59 7. Thick As A Brick 4 7:02 8. News 7:06 9. Thick As A Brick 5 8:18 10. Drum Solo 8:49 11. Thick As A Brick 6 12:33 12. Applause 13:16 13. Cross-Eyed Mary 15:24 14. Left Right 15:39 15. Aqualung
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Post by trainspotter on Jul 17, 2023 12:11:35 GMT
I am on the photo taken outside Newcastle City Hall 20th September 1989 (in front with red and black shirt and Aqualung t-shirt. I have this photo, but I can not remember who was the photographer. Most likely one of the persons whose names are on the tickets, who I remember. I am "the chap from Norway" who did all the nine British concerts and even the concert in Hamburg on my way home. Quite zealous back then. Good old crazy days...
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Post by rredmond on Jul 17, 2023 17:55:24 GMT
Nicely spotted! Always wonderful to see one of maddogfagin's posts quoted too! Gotta love those good old days, eh?
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