argentull
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Post by argentull on Aug 14, 2018 19:19:10 GMT
The user Simon M in theQuadrophonicquad blog posted the following:
On a plus note, news just in! I work in Pro Audio and I'm friends with SW's live sound engineer Ian. Well, he's just popped in to see me, so I said to him 'When you see SW, have a word about Stormwatch will you!' and he said that SW was working on a Tull remix on the bus, setting up the Logic templates etc. I said 'are you sure?' and he said yes, pretty sure and even said that there were twenty odd tracks on this one too. Now, we know 'This Was' was completed a while ago so it can't be that, so fingers crossed, again!
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Post by steelmonkey on Aug 15, 2018 23:59:34 GMT
Good news! I can't imagine them stopping after Heavy Horses...the question will be: which Tull albums after Stormwatch might rate the book and box treatment? You know there is interest and extra material. Hopefully hardy sales thus far will result in NOT stopping after Stormwatch.
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Post by tullabye on Aug 16, 2018 2:58:33 GMT
I’ve always thought that A was one of the worst sound wise. It needs some serious touch up.
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Post by JTull 007 on Aug 16, 2018 10:12:38 GMT
I’ve always thought that A was one of the worst sound wise. It needs some serious touch up. I agree although the LIVE DVD would also make me very happy with additional footage from that tour !!!
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Post by schubertmachiavelli on Aug 16, 2018 11:24:44 GMT
Broadsword obviously — it seems like it's top of a lot of people's lists to have done. Mine too.
I'd be fascinated to hear a sonic overhaul of Under Wraps, especially if (to paraphrase David Gilmour) it 'mixed the eighties out' – although there's a limit to what one can do with Linn drum samples. I wonder if Doane would be up for redoing the parts for real? Or having them 'flown in' with a little time stretch tweaking from a good quality live recording (I'm assuming he played to a click for the UW numbers, those requiring keyboard triggers and the like, although someone please correct me if I'm wrong about that). Absolute pie/sky speculation from me here, of course, just fun imagining…
I suspect a Wilsational 5.1/stereo remix of Crest Of A Knave, while not my favourite in the canon by a long shot, would sound dynamic and excellent — and more to the point, would sell like hot cakes, as it seems to be an album that pulls in a lot of interest from the less casual Tull fans (I think it's an entry LP for a lot of fans who weren't there from the start, like me (I'm 46)) and the story around it (especially critical reaction to it!) is not only well-documented, but entertaining, and would grace a book/box format most elegantly.
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cecil
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Post by cecil on Aug 16, 2018 20:07:49 GMT
Wilson needs to do all the 80s albums and fix the drums and late 80s vocals
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argentull
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Posts: 239
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Post by argentull on Aug 21, 2018 0:42:17 GMT
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Post by maddogfagin on Oct 20, 2018 6:49:42 GMT
A message from Hollowmoor
"I'm working on the Stormwatch research at the moment and we're looking for a top quality (i.e. first generation) tape/reel of the Capital Radio Richard Digance show from May 1980.
It seems that there isn't a copy in the Capital Radio archives so we're turning to the fan base to hopefully find someone who recorded it off the radio back in the day."
Anyone got a copy, first generation ? If they have, contact me and I'll pass on the details.
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argentull
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Post by argentull on Oct 20, 2018 14:56:15 GMT
Nice!
Hope they eventually find a good source and include it. The acoustic HH is so good.
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argentull
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Post by argentull on Oct 20, 2018 15:42:30 GMT
There is a guy who uploaded HH on youtube. Maybe they can start from there.
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Post by maddogfagin on Oct 21, 2018 7:09:29 GMT
There is a guy who uploaded HH on youtube. Maybe they can start from there. Do you have a link for this ? I taped it at the time onto reel to reel but that's either in Tull heaven or at the bottom of a box somewhere. All I have is a slightly distorted CDr I was sent years ago by a fellow fan.
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argentull
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Posts: 239
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Post by argentull on Oct 21, 2018 13:11:34 GMT
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Post by maddogfagin on Oct 22, 2018 7:23:37 GMT
There is a guy who uploaded HH on youtube. Maybe they can start from there. Do you have a link for this ? I taped it at the time onto reel to reel but that's either in Tull heaven or at the bottom of a box somewhere. All I have is a slightly distorted CDr I was sent years ago by a fellow fan. 4 May 1980 Richard Digance Show, Capital Radio, London, England. (A one hour weekly show, broadcast on a Sunday.) Jack-in-the-Green Peggy's Pub Dun Ringill Heavy Horses Barriemore Barlow, John Evan and David Palmer's final performances with Jethro Tull.
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argentull
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Post by argentull on Oct 22, 2018 13:43:48 GMT
Start with Martin Webb and David Rees says a guy in the Steve Hoffman Forum...but they have probably done that already.
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Post by steelmonkey on Oct 22, 2018 14:55:12 GMT
Glad to learn they are searching far and wide for worthy material. I'm sure the 'Dark Haiti' bootleg, recorded in Seattle, will get some attention. I think some of it was already used in a documentary which means it might be 'official' ? Looking forward to Stormwatch. Just writing this post has brought back to mood of late 1979 when I finished college, set up shop in San Francisco, and found secret inspiration in virtually every song on that album. I remember walking out of my small, shared apartment, looking down the hill over the city filled with mystery and possibilities, with 'Orion' over and in my head.
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Post by maddogfagin on Oct 22, 2018 16:06:48 GMT
Start with Martin Webb and David Rees says a guy in the Steve Hoffman Forum...but they have probably done that already. Some basic background information; Capital Radio in 1980 was still a "local" commercial station broadcasting to to London having been begun broadcasting in 1973. It was then a mainly "middle of the road" music station although rock music did get a look in via Nicky Horne, Roger Scott and later Alan Freeman and Tommy Vance (a huge Tull fan). Apart from the Richard Digance programme, there were some interviews with Ian Anderson conducted by Alan Freeman which were never aired as Freeman went back to the BBC - all probably loaded into a skip when the station relocated to Leicester Square. From mudcat.org/thread.cfm?threadid=162797Subject: Rchard Digance & Friends (1980) From: GUEST,CJB Date: 15 Sep 17 - 12:04 PM Thee aspprox. 1hr recordings have just come to light, although they have been on Usenet for 3 years. Richard Digance and Friends - Elkie Brooks, Tim Hinkley, Steve Womack, John O'Connor (Capital Radio 1980-09-21) - 160.mp3 Richard Digance and Friends - Dick Gaughan, Carlene Carter (Capital Radio - Autumn 1980) - 160.mp3 Richard Digance and Friends - Dougie MacLean, Jack Hudson, Pat Rogers (Capital Radio 1980-09-14) - 160.mp3 Richard Digance and Friends - Dougie MacLean, Jack Hudson, Pat Rogers (Capital Radio 1980-09-14) Minus ads - 160.mp3 Richard Digance and Friends - Elkie Brooks, Tim Hinkley, Steve Womack, John O'Connor (Capital Radio 1980-09-21) - 160.mp3 Richard Digance and Friends - Elkie Brooks, Tim Hinkley, Steve Womack, John O'Connor (Capital Radio 1980-09-21) Minus ads - 160.mp3 Richard Digance and Friends - Eric Bogle and Tony Capstick (Capital Radio 1980-ish) - 160.mp3 Richard Digance and Friends - Eric Bogle and Tony Capstick (Capital Radio 1980-ish) Minus ads - 160.mp3 Richard Digance and Friends - John and Sue Kirkpatrick, Eddie Walker, Doug Malta (Capital Radio 1980-ish) - 160.mp3 Richard Digance and Friends - Jonathan Asprey, John Forman, Richard Cox Smith (Capital Radio 1980-mm-dd) - 160.mp3 Richard Digance and Friends - Loudon Wainwright, Waterfall (Capital Radio 1980-11-29) - 160.mp3 Richard Digance and Friends - Martin Carthy and The Watersons (Capital Radio 1980-ish) - 160.mp3 Richard Digance and Friends - Michael Chapman, English Tapestry, Chris Pearson (Capital Radio 1980-mm-dd) - lhr - 160.mp3 Richard Digance and Friends - Richard & Linda Thompson, Simon Nicol, Derek Brimstone (Capital Radio - Probably 1980-12-07) - 160.mp3 Subject: RE: Rchard Digance & Friends (1980) From: GMGough Date: 15 Sep 17 - 03:35 PM from my notebook: Carlene Carter appeared on RD & Friends on 1980-08-24 Eric Bogle appeared on 1980-07-27 & 1980-10-05 John Kirkpatrick 1979-12-30 Loudon Wainwright on 1979-11-18 & 1980-11-30 Martin Carthy on 1979-10-28, 1980-01-27 & 1981-02-xx Michael Chapman on 1981-12-13 & 1983-03-20 Richard & Linda Thompson on 1980-12-07 & 1980-06-22
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Post by maddogfagin on Nov 4, 2018 7:35:32 GMT
A question for our Polish members here on the Forum. I have a Polish copy of Stormwatch, pressed on the Tonpress label which has a small label on the back which indicates that its cost price back in 1979 was 300 złoty which seems a rather large amount for an album. By today's rates, 300 złoty is just over £59 which I can't imagine anyone paying for a brand new album. So was there some kind of hyper inflation or currency problems back in '79 or was the złoty revalued at some time ? radio.opole.pl/475,359,biale-kruki-z-czarnych-winyli-zespol-jethro-tull 2018-11-03, 23:50 Author: Piotr Moc "White ravens from black vinyls" - Jethro Tull band and "Stormwatch" albumA timeless formation and a legendary, crazy flutist. Jethro Tull's 50th anniversary tour will include three concerts in Poland. The nearest place for Opole is Wrocław. Ian Anderson's formation will perform in the auditorium hall of the Centennial Hall on November 9th. On this occasion, we reach for one of the white crows of the JT from 1979. Stormwatch is the twelfth group studio album. He is considered the last of the folk rock trilogy of the band (although the influences of folk music are present on almost all Jethro Tull albums). The topics covered in the texts on this CD are issues related to the environment, oil and money. The JT Group was founded in 1967. The composition of the band has changed many times over the years, but its pillar, which gives it an artistic shape, remains the extravagant leader all the time. Ian Anderson plays the guitar flute, harmonica, mandolin and balalaika. It is characterized by an easily recognizable voice and vocal manner.
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Post by nonrabbit on Nov 4, 2018 11:48:32 GMT
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Post by bunkerfan on Nov 4, 2018 19:38:59 GMT
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Post by nonrabbit on Nov 4, 2018 21:25:38 GMT
It's a bit like Ireland!
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Post by only1um on Nov 17, 2018 12:55:09 GMT
Nice! Hope they eventually find a good source and include it. The acoustic HH is so good. I've got a 1st generation cassette tape that I recorded from the radio broadcast myself. Here's the link to my webpage <http://tulltrades.tripod.com/JethroTull.html> It's 04/05/80 Cheers. Brillo.
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argentull
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Post by argentull on Nov 18, 2018 0:17:03 GMT
Nice! Hope they eventually find a good source and include it. The acoustic HH is so good. I've got a 1st generation cassette tape that I recorded from the radio broadcast myself. Here's the link to my webpage <http://tulltrades.tripod.com/JethroTull.html> It's 04/05/80 Cheers. Brillo. Awesome! Can you get in touch with maddogfagin?
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Post by maddogfagin on Nov 18, 2018 7:05:47 GMT
I've got a 1st generation cassette tape that I recorded from the radio broadcast myself. Here's the link to my webpage <http://tulltrades.tripod.com/JethroTull.html> It's 04/05/80 Cheers. Brillo. Awesome! Can you get in touch with maddogfagin? Duly noted - I'll forward the link/details to Martin Webb, who is coordinating these matters, when he gets back off holiday.
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Post by maddogfagin on Nov 19, 2018 7:26:28 GMT
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Post by maddogfagin on Dec 8, 2018 7:45:53 GMT
From the archives ultimateclassicrock.com/jethro-tull-stormwatch/Jethro Tull's 12th studio album, Stormwatch, concludes with "Elegy," a quiet instrumental of pastoral acoustic guitar and melancholy strings. The title is appropriate. Composed by keyboardist-orchestral arranger David Palmer in honor of his late father, the three-minute piece serves as a gentle swan song for bassist John Glascock, who died from effects of a cardiac infection soon after being dismissed from the band (and only playing on three tracks). But it's also an elegy in a broader sense, a quiet mourning for Tull's classic era -- the '70s. Stormwatch is the last essential Jethro Tull album, a cohesive curtain call for the band's trademark prog-folk style. But it's also the black sheep of their catalog, overshadowed by 1977's Songs From the Wood and 1978's Heavy Horses -- the brilliant one-two punch that revitalized the band after a handful of lackluster mid-decade LPs. Pegged by critics as the final installment of a "folk-rock trilogy," Stormwatch continues in a similar vein as those earlier classics, blending progressive instrumental finesse (notably the more metallic guitar sound of mainstay Martin Barre) with British folk serenity (the reliable acoustic guitar and flute of frontman-songwriter Ian Anderson). Though Anderson has always been the band's chief creative force, every Jethro Tull album is only as good as the players behind him. By 1979, the core of this classic line-up (Anderson, Barre, Palmer, keyboardist John Evan and drummer Barrie Barlow) had developed a rare level of chemistry for a rock band, having played together since 1972's celebrated Thick as a Brick. Stormwatch is defined by that dynamic interplay, offering some of the most unique arrangements in the Tull discography. The band's rarely utilized funk influence came to the forefront on several pieces, including the propulsive "Something's on the Move" and the Eastern-tinged instrumental "Warm Sporran" -- the latter dominated by Anderson's deft bass playing. Meanwhile, "Dark Ages" is one of Tull's most engaging longer pieces, stretching out to nearly 10 minutes as it seamlessly links disparate musical passages, including a stormy guitar solo by Barre and a climactic section of harmonized vocals and synthesizers. As a technical showcase, Stormwatch ranks alongside Thick as a Brick and Songs From the Wood as the band's most striking work. Barrow's contributions are particularly memorable, as he skirts between locomotive bombast ("North Sea Oil") and frenetic groove ("Orion"). Since Anderson took over bass responsibilities early on in the recording process (after having dismissed Glascock for health concerns), the frontman had a unique relationship with Barrow on this project. "Some of Barrie’s best performances are to be found on this record," Anderson said in the liner notes to a 2004 remaster. "Since I had the task of playing bass, we bonded in a musical way quite different to usual. Bass players and drummers have to have that special musical thing going, and we found that extra dimension quite easily. But of course, we all would rather have had the healthy presence of John throughout the recording." Unfortunately, Stormwatch also showed signs of creative fatigue. "Home" is bogged down by its own breezy balladeering; the Anderson solo spotlight "Dun Ringill" is based on an eerily familiar guitar figure -- essentially a hybrid between "The Mouse Police Never Sleeps" and "Thick as a Brick." And the lyrics, exploring weighty themes of corporate greed and environmental dread, were less distinct than the fanciful sketches of Songs from the Wood or the earnest naturalism of Heavy Horses. With the neon-tinted '80s looming, prog-rock bands were forced to adapt or go extinct. But Jethro Tull's classic line-up dissolved organically, each member departing in a domino effect. After the Stormwatch tour, Barrow quit the band, brokenhearted after the death of his close friend Glascock. Meanwhile, a drained Anderson planned to start work on his first solo album, which pushed out the frustrated duo of Evan and Palmer. (Under commercial pressure from longtime label Chrysalis Records, Anderson agreed to label his solo project, 1980's A, under the Tull moniker.) While Stormwatch never matches the absurd, grandiosity of Thick as a Brick or the playful wonder of Songs From the Wood, it remains an essential item in the Tull oeuvre. This is the last souvenir of the band's most fruitful period.
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argentull
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Post by argentull on Dec 17, 2018 18:36:49 GMT
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Post by schubertmachiavelli on Dec 18, 2018 12:13:28 GMT
From the archives ultimateclassicrock.com/jethro-tull-stormwatch/Jethro Tull's 12th studio album, Stormwatch, concludes with "Elegy," a quiet instrumental of pastoral acoustic guitar and melancholy strings. The title is appropriate. Composed by keyboardist-orchestral arranger David Palmer in honor of his late father, the three-minute piece serves as a gentle swan song for bassist John Glascock, who died from effects of a cardiac infection soon after being dismissed from the band (and only playing on three tracks). But it's also an elegy in a broader sense, a quiet mourning for Tull's classic era -- the '70s. Stormwatch is the last essential Jethro Tull album, a cohesive curtain call for the band's trademark prog-folk style. But it's also the black sheep of their catalog, overshadowed by 1977's Songs From the Wood and 1978's Heavy Horses -- the brilliant one-two punch that revitalized the band after a handful of lackluster mid-decade LPs. Pegged by critics as the final installment of a "folk-rock trilogy," Stormwatch continues in a similar vein as those earlier classics, blending progressive instrumental finesse (notably the more metallic guitar sound of mainstay Martin Barre) with British folk serenity (the reliable acoustic guitar and flute of frontman-songwriter Ian Anderson). Though Anderson has always been the band's chief creative force, every Jethro Tull album is only as good as the players behind him. By 1979, the core of this classic line-up (Anderson, Barre, Palmer, keyboardist John Evan and drummer Barrie Barlow) had developed a rare level of chemistry for a rock band, having played together since 1972's celebrated Thick as a Brick. Stormwatch is defined by that dynamic interplay, offering some of the most unique arrangements in the Tull discography. The band's rarely utilized funk influence came to the forefront on several pieces, including the propulsive "Something's on the Move" and the Eastern-tinged instrumental "Warm Sporran" -- the latter dominated by Anderson's deft bass playing. Meanwhile, "Dark Ages" is one of Tull's most engaging longer pieces, stretching out to nearly 10 minutes as it seamlessly links disparate musical passages, including a stormy guitar solo by Barre and a climactic section of harmonized vocals and synthesizers. As a technical showcase, Stormwatch ranks alongside Thick as a Brick and Songs From the Wood as the band's most striking work. Barrow's contributions are particularly memorable, as he skirts between locomotive bombast ("North Sea Oil") and frenetic groove ("Orion"). Since Anderson took over bass responsibilities early on in the recording process (after having dismissed Glascock for health concerns), the frontman had a unique relationship with Barrow on this project. "Some of Barrie’s best performances are to be found on this record," Anderson said in the liner notes to a 2004 remaster. "Since I had the task of playing bass, we bonded in a musical way quite different to usual. Bass players and drummers have to have that special musical thing going, and we found that extra dimension quite easily. But of course, we all would rather have had the healthy presence of John throughout the recording." Unfortunately, Stormwatch also showed signs of creative fatigue. "Home" is bogged down by its own breezy balladeering; the Anderson solo spotlight "Dun Ringill" is based on an eerily familiar guitar figure -- essentially a hybrid between "The Mouse Police Never Sleeps" and "Thick as a Brick." And the lyrics, exploring weighty themes of corporate greed and environmental dread, were less distinct than the fanciful sketches of Songs from the Wood or the earnest naturalism of Heavy Horses. With the neon-tinted '80s looming, prog-rock bands were forced to adapt or go extinct. But Jethro Tull's classic line-up dissolved organically, each member departing in a domino effect. After the Stormwatch tour, Barrow quit the band, brokenhearted after the death of his close friend Glascock. Meanwhile, a drained Anderson planned to start work on his first solo album, which pushed out the frustrated duo of Evan and Palmer. (Under commercial pressure from longtime label Chrysalis Records, Anderson agreed to label his solo project, 1980's A, under the Tull moniker.) While Stormwatch never matches the absurd, grandiosity of Thick as a Brick or the playful wonder of Songs From the Wood, it remains an essential item in the Tull oeuvre. This is the last souvenir of the band's most fruitful period. Isn't this article at odds with the party line? I'm sure IA, Barrie and DP at the very least are all on record and largely in agreement with their version on how this lineup of Tull was dissolved, and it certainly wasn't 'organically'! Doesn't it all stem from the record label's insistence that IA's solo project become a Tull album, with the old band members only finding out days before the music press ran the story? I'm sure "Barrow" (sigh) was disconsolate and emotionally drained at the end of the Tull tour, but nonetheless expected to get the call for the next album, for one, and IA was somewhat obliged to bend to Chrysalis pressure, much to his discomfort and embarrassment. I mean, I'm not saying anything that anyone here doesn't know, am I? Just find it odd that this music journo's take on things is so far off from what has been on record for several years and no-one saying otherwise.
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Post by maddogfagin on Dec 18, 2018 16:21:48 GMT
From the archives ultimateclassicrock.com/jethro-tull-stormwatch/Jethro Tull's 12th studio album, Stormwatch, concludes with "Elegy," a quiet instrumental of pastoral acoustic guitar and melancholy strings. The title is appropriate. Composed by keyboardist-orchestral arranger David Palmer in honor of his late father, the three-minute piece serves as a gentle swan song for bassist John Glascock, who died from effects of a cardiac infection soon after being dismissed from the band (and only playing on three tracks). But it's also an elegy in a broader sense, a quiet mourning for Tull's classic era -- the '70s. Stormwatch is the last essential Jethro Tull album, a cohesive curtain call for the band's trademark prog-folk style. But it's also the black sheep of their catalog, overshadowed by 1977's Songs From the Wood and 1978's Heavy Horses -- the brilliant one-two punch that revitalized the band after a handful of lackluster mid-decade LPs. Pegged by critics as the final installment of a "folk-rock trilogy," Stormwatch continues in a similar vein as those earlier classics, blending progressive instrumental finesse (notably the more metallic guitar sound of mainstay Martin Barre) with British folk serenity (the reliable acoustic guitar and flute of frontman-songwriter Ian Anderson). Though Anderson has always been the band's chief creative force, every Jethro Tull album is only as good as the players behind him. By 1979, the core of this classic line-up (Anderson, Barre, Palmer, keyboardist John Evan and drummer Barrie Barlow) had developed a rare level of chemistry for a rock band, having played together since 1972's celebrated Thick as a Brick. Stormwatch is defined by that dynamic interplay, offering some of the most unique arrangements in the Tull discography. The band's rarely utilized funk influence came to the forefront on several pieces, including the propulsive "Something's on the Move" and the Eastern-tinged instrumental "Warm Sporran" -- the latter dominated by Anderson's deft bass playing. Meanwhile, "Dark Ages" is one of Tull's most engaging longer pieces, stretching out to nearly 10 minutes as it seamlessly links disparate musical passages, including a stormy guitar solo by Barre and a climactic section of harmonized vocals and synthesizers. As a technical showcase, Stormwatch ranks alongside Thick as a Brick and Songs From the Wood as the band's most striking work. Barrow's contributions are particularly memorable, as he skirts between locomotive bombast ("North Sea Oil") and frenetic groove ("Orion"). Since Anderson took over bass responsibilities early on in the recording process (after having dismissed Glascock for health concerns), the frontman had a unique relationship with Barrow on this project. "Some of Barrie’s best performances are to be found on this record," Anderson said in the liner notes to a 2004 remaster. "Since I had the task of playing bass, we bonded in a musical way quite different to usual. Bass players and drummers have to have that special musical thing going, and we found that extra dimension quite easily. But of course, we all would rather have had the healthy presence of John throughout the recording." Unfortunately, Stormwatch also showed signs of creative fatigue. "Home" is bogged down by its own breezy balladeering; the Anderson solo spotlight "Dun Ringill" is based on an eerily familiar guitar figure -- essentially a hybrid between "The Mouse Police Never Sleeps" and "Thick as a Brick." And the lyrics, exploring weighty themes of corporate greed and environmental dread, were less distinct than the fanciful sketches of Songs from the Wood or the earnest naturalism of Heavy Horses. With the neon-tinted '80s looming, prog-rock bands were forced to adapt or go extinct. But Jethro Tull's classic line-up dissolved organically, each member departing in a domino effect. After the Stormwatch tour, Barrow quit the band, brokenhearted after the death of his close friend Glascock. Meanwhile, a drained Anderson planned to start work on his first solo album, which pushed out the frustrated duo of Evan and Palmer. (Under commercial pressure from longtime label Chrysalis Records, Anderson agreed to label his solo project, 1980's A, under the Tull moniker.) While Stormwatch never matches the absurd, grandiosity of Thick as a Brick or the playful wonder of Songs From the Wood, it remains an essential item in the Tull oeuvre. This is the last souvenir of the band's most fruitful period. Isn't this article at odds with the party line? I'm sure IA, Barrie and DP at the very least are all on record and largely in agreement with their version on how this lineup of Tull was dissolved, and it certainly wasn't 'organically'! Doesn't it all stem from the record label's insistence that IA's solo project become a Tull album, with the old band members only finding out days before the music press ran the story? I'm sure "Barrow" (sigh) was disconsolate and emotionally drained at the end of the Tull tour, but nonetheless expected to get the call for the next album, for one, and IA was somewhat obliged to bend to Chrysalis pressure, much to his discomfort and embarrassment. I mean, I'm not saying anything that anyone here doesn't know, am I? Just find it odd that this music journo's take on things is so far off from what has been on record for several years and no-one saying otherwise. I've heard and listened to so many stories and theories about the schism around this era of Tull that I'm now inclined to wait until both sides bring out some kind of official autobiography, not a biography, although I don't think it will become much clearer when that happens. It's the same as when Mick Abrahams left the band - did he resign or was he pushed. History has a habit of repeating itself and I eagerly await the true story of why Martin Barre left and at this point in time the stories that have done the "rounds" don't seem to add up.
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Post by starthrower on Dec 25, 2018 18:50:48 GMT
I'm a long time fan of Stormwatch. I bought a copy in 1979. And I bought two CD copies. I don't know whether I'll pick up the 40th Anniversary Edition? I just bought HH New Shoes which is okay, but not great, imo.
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Post by futureshock on Dec 25, 2018 23:44:20 GMT
I'm a long time fan of Stormwatch. I bought a copy in 1979. And I bought two CD copies. I don't know whether I'll pick up the 40th Anniversary Edition? I just bought HH New Shoes which is okay, but not great, imo. I look forward to any Tull being remixed if the original was released on vinyl. I don't know exactly what the "New Shoes" version of Stormwatch will sound like ("New Forecast" version?) but the chance to go back to individual tracks and perfect them before recombining them down to two stereo tracks affords a great ability to assure the final product matches what the expanded dynamic range of a CD is, about 90db, vs what vinyl usually has, 60db, and to perfect the mix for volume and EQ with that in mind. What CDs have over vinyl is that there's a very wide variety in the quality of needle/tone arms being used, and that means a brand new vinyl record, while having the great quality of sound available, wasn't likely read very well on lots of players. Then you have the great variety of speaker qualities out there too, in listener rooms, from ear phones on a bus to car speakers to 3" speakers in an office or home desk cubicle to 5" speakers as normal sound system speakers, to better from that. HUGE variety. At least CDs solve the first problem; the message is received correctly and almost uniformly at the start of the system, and from there it's mostly an issue with speaker quality variety. What does Stormwatch sound like? To who, is the question. Stormwatch has many sections of music involving a lot of dynamic range and depth of feel, layers of things going on, including quiet, reverb, textures of instruments, a large sense of space and time, etc., that take it right out of the "rock and roll" zone like Crest of A Knave is more in, and makes Stormwatch more of a rich listening pool of experience to indulge in. I think it makes a big difference in this case, to assure the audio is given every chance to stretch out at full dynamic range and textural complexity, all cleaned up, balanced and ideally presented.
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