Deleted
Deleted Member
Posts: 0
|
Post by Deleted on May 22, 2012 14:13:15 GMT
|
|
|
|
Post by futureshock on Feb 6, 2013 23:31:56 GMT
This was a good album, why so few comments? The songs took a new direction for Tull, people obsess over the synth drums and miss the music.
|
|
|
|
Post by maddogfagin on Feb 7, 2013 9:06:16 GMT
This was a good album, why so few comments? The songs took a new direction for Tull, people obsess over the synth drums and miss the music. I rate the album very highly and you're correct about the new direction for Tull. Whether it is a contender for a remix at some stage is open to question but if it was handed over to Mr. Wilson I reckon he'd get the very best out of it with, perhaps, a mix with "real" drums handled by Doane Perry ? Now there's a thought |
|
|
|
Post by futureshock on Feb 8, 2013 0:04:01 GMT
Interesting file with the acoustic drums there, or is it a better drum synth/software going on than what was available before?
Seems to have the potential for being worked on for EQ, reverb and produce a very nice rich drum tone. I kept hearing some percussion added, like shakers, expanded beyond the original albums list of drum components.
Maybe rather than releasing the album again, with the associated cost and looking back again, I can see Tull just re-recording a few of the songs on future albums, reworked as blueprints to fit a new context. I always liked where that album was trying to go with the espionage angle and the sparky musical approach. The whole album seemed like it was from a movie.
|
|
|
|
Post by maddogfagin on Feb 8, 2013 9:07:12 GMT
Interesting file with the acoustic drums there, or is it a better drum synth/software going on than what was available before? Seems to have the potential for being worked on for EQ, reverb and produce a very nice rich drum tone. I kept hearing some percussion added, like shakers, expanded beyond the original albums list of drum components. Maybe rather than releasing the album again, with the associated cost and looking back again, I can see Tull just re-recording a few of the songs on future albums, reworked as blueprints to fit a new context. I always liked where that album was trying to go with the espionage angle and the sparky musical approach. The whole album seemed like it was from a movie. ian Anderson, so it is alleged, was reading a lot of spy novels at the time this album was recorded so your idea of a film is well founded. The film "The Spy Who Came In From The Cold" with Richard Burton was on UK TV a few weeks back and one can't help wondering when watching it as to whether a few of ideas in the film gave some background to some of the songs. |
|
tommie
Master Craftsman
Posts: 392
|
Post by tommie on Feb 8, 2013 17:32:36 GMT
Under Wraps is a GREAT album, with some of Ian's best written songs IMO. MB and DP's playing is so great and tight, too. But all people on this board do is complain that it's "different" and doesnt sound like a "typical" Tull album.
But I know I'm in the minority. I luved "Walk Into Light", too. lol
|
|
|
|
Post by steelmonkey on Feb 8, 2013 17:39:06 GMT
I'm pro Wraps and Light, too, Tommie...a lot of us are....probably more than 50%...a downright majority.
|
|
|
|
Post by JTull 007 on Feb 8, 2013 18:31:34 GMT
Under Wraps is a GREAT album, with some of Ian's best written songs IMO. MB and DP's playing is so great and tight, too. But all people on this board do is complain that it's "different" and doesnt sound like a "typical" Tull album. But I know I'm in the minority. I luved "Walk Into Light", too. lol The minority is larger than you think.  Crank up the drum machines. I enjoyed seeing a quality video on MTV - "Lap of Luxury" which rocks!  The fact that there was a topless lady running around the stage is 'Historic!'  |
|
|
|
Post by maddogfagin on Feb 8, 2013 18:35:59 GMT
Under Wraps is a GREAT album, with some of Ian's best written songs IMO. MB and DP's playing is so great and tight, too. But all people on this board do is complain that it's "different" and doesnt sound like a "typical" Tull album. But I know I'm in the minority. I luved "Walk Into Light", too. lol I would have to disagree with you tommie that members of the Forum complain about Under Wraps. Yes maybe some don't like the album while others positively love it but that is the individual's perogative. Whilst I and many others are very positive about the album and rate it highly, and I agree with you about the performance of the band members, in a way I can just about understand some people's annimosity towards the album. In fact I do know of at least two Tull fans who do not regard it as a Tull album. That's their problem and not mine. Not only is Under Wraps a great album but certainly a turning point in the history of the band. |
|
tullist
Master Craftsman
Posts: 478
|
Post by tullist on Feb 8, 2013 18:42:05 GMT
Well then. I guess its up to me to call out UW as the single least valued creation of Ian Anderson. Even with the removal of the synths and drum machines, (and this from someone who writes off no musical instrument in the world)it was not his strongest collection of songs. Hands down the best of the lot is the one that most sounds like other Tull material, UW2. European Legacy and Heat get high marks as well. Loved him plagarizing Wordsworth I think, in his Ian Anderson way. But..in the main, that record is correctly marked as the least of the lot, but I didn't say ain't nothin in there. Pretty good tour too, saw it 4 times. Ditto for Walk Into Light, much of merit on there, but looking at all 5 of his solo records, that is the weakest in the bunch. Yes I know there are dead wonderful tracks on there, Looking For Eden comes immediately to mind.
I will go further in saying that this is a period when Ian was most likely to have his eye off the ball, to the extent he ever does. The children were at that young stage, and his salmon business was apexing, I think growing a little larger than he surmised.
I wish people would bring this level of passion to the defence of the various flutey things he does, within, say Eurology, music of actual depth and musicality....albeit no Martin, or even his orchestral dvd, a display I recall I can support front to back, not something I can say of UW....or even the Passion Play.
|
|
|
|
Post by maddogfagin on Feb 26, 2013 9:41:04 GMT
From "The Pocket Essential - Jethro Tull" by Raymond Benson, published 2002.
Released: UK: September 1984; US: October 1984
Track List: Lap Of Luxury; Under Wraps #1: European Legacy;
Later, That Same Evening (Anderson/Vettese): Saboteur (Anderson/
Vettese); Radio Free Moscow (Anderson/Vettese): Astronomy (Ander-
son/Vettese) [CD and cassette only]; Tundra (Anderson/Vettese) [CD
and cassette only]; Nobody's Car (Anderson/Barre/Vettese); Heat
(Anderson/Vettese); Under Wraps #2; Paparazzi (Anderson/Barre/Vet-
tese); Apogee (Anderson/Vettese); Automotive Engineering (Anderson/
Vettese) [CD and cassette only]: General Crossing (Anderson/Vettese)
[CD and cassette only]. (All songs by lan Anderson except where indi-
cated.)
Cover Art: Conceived by lan Anderson. designed by John Pasche,
photographed by Trevor Key. The single sleeve LP features a clever
photo of a (presumably) nude woman lounging underneath a sheet.
Personnel: Ian Anderson (vocals, flute, acoustic guitar, drum pro-
gramming). Martin Barre (electric and acoustic guitars); Dave Pegg
(bass guitar, mandolin, vocals); Peter-John Vettese (piano, synthesisers,
vocals). Produced by lan Anderson. Recording engineers: lan Ander-
son, Martin Barre, Dave Pegg, Peter-John Vettese.
Recording Background: Fully immersed in the new technology of
the day, lan Anderson decided to continue the experimentation he had
done on his solo album by creating a Jethro Tull album with no drum-
mer. Instead, he used a drum machine that he programmed himself.
This, combined with Vettese's electronics, produced yet another Tull
album that sounds like no other. But unlike "A ", which sounded alien,
futuristic and antiseptic, the atmosphere of Under Wraps is more of a
techno-rock album with the voice and flute of lan Anderson. One critic
described it as 'Ultravox meets Jethro Tull.' Fans either loved it or
hated it. The songs mostly deal with the universe of spies, espionage
and working undercover. The original LP contained eleven tracks,
while the CD and cassette added four more songs.
Comments: The sound of the album is unique and certainly different
and therein lies its strength. The arrangements and musicality are top
notch, Anderson's vocais are superb and Vettese's work shines. The
drawback is that only about half the songs are truly memorable. The
highlights include: the rocker 'Lap Of Luxury' (released as a single);
the imaginatively-arranged 'Under Wraps #1'; the tricky 'European
Legacy'; the ballad-like 'Later, That Same Evening'; the snappy 'Sabo-
teur'; 'Radio Free Moscow' with its intricate vocals; another rocker
'Nobody's Car'; and the wonderful, acoustic 'Under Wraps #2,' which
stands out because it lacks the techno qualities of the rest of the LP. It is
the same song (lyrics and melody I as 'Under Wraps #1,' except that the
rhythm, mood and arrangement are completely different, thereby creat-
ing a completely new tune.
Trivia: Under Wraps was the first Jethro Tull album to be issued on
CD. The album reached a respectable #18 in the UK but sales in the US
were very poor—it topped at #76.
Verdict: A courageous and engaging album. 3/5
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Feb 26, 2013 15:40:12 GMT
 Thank you! Mad.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Feb 26, 2013 15:43:04 GMT
Good to see!
|
|
|
|
Post by steelmonkey on Feb 26, 2013 17:16:28 GMT
And the tour was boiling hot....till the voice blew out at the end...then, like now, the benefit of fresh blood and hungry new musicians, psyched about, not bored with being in a hard working band on a long tour, was obvious ( Vetesse and Perry both kicked ass but sweated less than Ian, Martin and Pegg.)
|
|
tullist
Master Craftsman
Posts: 478
|
Post by tullist on Feb 26, 2013 17:34:28 GMT
I will agree Vittesse kicked ass when he was serving the muse of Ian Anderson. His own solo spots were a massive display of stadium largesse, better used serving one of Tull's opening acts of the time, was it Whitesnake? A truly crass embarrassment topped only by the solo spot from the next keyboard player. Yeah. Flashy man. Next.
And I really do have to add the name of the though to be unassailable John Evans to this. Those solo spots, though done on a less annoying instrument, were nothing to be too proud of. Seems a decent amount of the time I have the local classical station on is when I am delivering on Sunday nights, and they have the teenagers performing this or that piece, each, to a one, doing a vastly more credible take on the likes of Beethoven than Evan's, in the main, boring solo spots. Now when the whole band took on a section of Beethoven on the 76 tour, that kicked ass, or even that little thing Ian did some years back with the first violinist for Mozart's birthday, that was very nice. I join Ian though with, in the main, not being that big a fan of Mozart.
|
|
|
|
Post by steelmonkey on Feb 26, 2013 17:44:21 GMT
Are you sure you're not mixing up Vetesse with Airey a couple a years later...Airey's solo was time wasted....really painful....I don't remember feeling that way about vetesse but it's been many years and you seem to have memories pegged to multiple exposure to that tour.
|
|
tullist
Master Craftsman
Posts: 478
|
Post by tullist on Feb 26, 2013 17:56:14 GMT
Nope. I am regularly exposed to those shows via downloads. The only exception being Vittesse quoting and extrapolating on Living in the Past over the first minute or so of his solo spot in 82, before going off to show his alleged wizardry in gizmotroids. Give me the Ra man truly causing pain with that thing. My own memory would have merely have been another great Tull tour that I saw four times. I would vaguely remember not liking the solo spot, and hating the opening act. This very certainly includes It Bites in 89, they did, sort of an even poorer man's Wild Turkey. But golly did they ever have alot of rock and roll soul, I think they even had some of the Status Quo stances down.
|
|
|
|
Post by steelmonkey on Feb 26, 2013 18:00:10 GMT
I trust your memory...I remember in 87 really resenting both keyboard and drum solos...a total of maybe 20 or 25 minutes intruding on an otherwise nice concert and really being out of place and retro......
|
|
|
|
Post by journeyman on Feb 28, 2013 21:25:20 GMT
I will agree Vittesse kicked ass when he was serving the muse of Ian Anderson. His own solo spots were a massive display of stadium largesse, better used serving one of Tull's opening acts of the time, was it Whitesnake? A truly crass embarrassment topped only by the solo spot from the next keyboard player. Yeah. Flashy man. Next. And I really do have to add the name of the though to be unassailable John Evans to this. Those solo spots, though done on a less annoying instrument, were nothing to be too proud of. Seems a decent amount of the time I have the local classical station on is when I am delivering on Sunday nights, and they have the teenagers performing this or that piece, each, to a one, doing a vastly more credible take on the likes of Beethoven than Evan's, in the main, boring solo spots. Now when the whole band took on a section of Beethoven on the 76 tour, that kicked ass, or even that little thing Ian did some years back with the first violinist for Mozart's birthday, that was very nice. I join Ian though with, in the main, not being that big a fan of Mozart. I would agree that Evans was not an exceedingly amazing pianist, but i think the value of his contribution lies more in the melodies he came up with, not necessarily solos. |
|
tullist
Master Craftsman
Posts: 478
|
Post by tullist on Feb 28, 2013 22:00:48 GMT
I will agree Vittesse kicked ass when he was serving the muse of Ian Anderson. His own solo spots were a massive display of stadium largesse, better used serving one of Tull's opening acts of the time, was it Whitesnake? A truly crass embarrassment topped only by the solo spot from the next keyboard player. Yeah. Flashy man. Next. And I really do have to add the name of the though to be unassailable John Evans to this. Those solo spots, though done on a less annoying instrument, were nothing to be too proud of. Seems a decent amount of the time I have the local classical station on is when I am delivering on Sunday nights, and they have the teenagers performing this or that piece, each, to a one, doing a vastly more credible take on the likes of Beethoven than Evan's, in the main, boring solo spots. Now when the whole band took on a section of Beethoven on the 76 tour, that kicked ass, or even that little thing Ian did some years back with the first violinist for Mozart's birthday, that was very nice. I join Ian though with, in the main, not being that big a fan of Mozart. I would agree that Evans was not an exceedingly amazing pianist, but i think the value of his contribution lies more in the melodies he came up with, not necessarily solos. Oh very true. In terms of intangibles I would mark him as the most sorely missed member, other than Barrie. In fact other than Martin, and nearly all the drummers not sure I would mark any of the Tull players as exceedingly amazing. They were adept at serving the muse is my perception. Will always be in question to me just how much any of the others contributed in terms of germs of ideas, I believe Anderson wrote to their strengths, like Ellington, and then asked their input. Having said that in their solo spots in a show I believe they were given lots of leeway which, in retrospect, I believe to have been a mistake roughly 3/4 of the time. Additionally one of the notable exceptions to that were the solo spots for Pegg and Maart when they were in the band, those were outstanding and as good as the rest of the show. Plus Maart was playing stringed instruments in those parts, keyboards, of course, were never really what he does. And also points for every last one of those guests since 05, all impressive, I believe an excellent late career brainstorm from IA. |
|
|
|
Post by steelmonkey on Feb 28, 2013 22:43:54 GMT
They tell you, I guess in grade school, that pianos, dammit, are in the percussion family...well, no one proved it better, more beautifully or rhythmically than John Evans...Mainly in APP but also Brick and all his work, now and then he'll just pound on a note or chord...more like a drummer than pianist, and it's amazing rock and roll. Good example is 'Crazed Institution'.
|
|
|
|
Post by journeyman on Mar 2, 2013 20:02:44 GMT
I would agree that Evans was not an exceedingly amazing pianist, but i think the value of his contribution lies more in the melodies he came up with, not necessarily solos. Oh very true. In terms of intangibles I would mark him as the most sorely missed member, other than Barrie. In fact other than Martin, and nearly all the drummers not sure I would mark any of the Tull players as exceedingly amazing. They were adept at serving the muse is my perception. Will always be in question to me just how much any of the others contributed in terms of germs of ideas, I believe Anderson wrote to their strengths, like Ellington, and then asked their input. Having said that in their solo spots in a show I believe they were given lots of leeway which, in retrospect, I believe to have been a mistake roughly 3/4 of the time. Additionally one of the notable exceptions to that were the solo spots for Pegg and Maart when they were in the band, those were outstanding and as good as the rest of the show. Plus Maart was playing stringed instruments in those parts, keyboards, of course, were never really what he does. And also points for every last one of those guests since 05, all impressive, I believe an excellent late career brainstorm from IA. Agreed, Pegg certainly does hold his own on the stage. And I think as a bass player hebwas quite good--Never really has the opportunity to really give it his all (few bass players do) but the subtleties of his playing add a lot in my opinion. On that thought I'll have to give Under Wraps another listen paying particular attention to Peggy. |
|
|
|
Post by journeyman on Mar 2, 2013 20:10:22 GMT
They tell you, I guess in grade school, that pianos, dammit, are in the percussion family...well, no one proved it better, more beautifully or rhythmically than John Evans...Mainly in APP but also Brick and all his work, now and then he'll just pound on a note or chord...more like a drummer than pianist, and it's amazing rock and roll. Good example is 'Crazed Institution'. Well put. And good instance of this was when the band played notes in succession very very quickly--for the guitarist and bassist this meant "up down up down" for four notes, for the drummer it meant "left right left right" for four notes, but Evans had to go twice as fast since there is no note achieved for bringing your hand up off the keys--four notes for him were "up down up down up down up down". He did it without error. |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jul 5, 2013 19:33:36 GMT
|
|
|
|
Post by maddogfagin on Jul 6, 2013 9:29:21 GMT
Quite fascinating what can be found on the web. I see Bernie's joined with the user name of Volglory  |
|
|
|
Post by nonrabbit on Jul 6, 2013 9:34:52 GMT
Quite fascinating what can be found on the web. I see Bernie's joined with the user name of Volglory  Vienna? Budapest? |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 27, 2013 18:06:13 GMT
|
|
|
|
Post by maddogfagin on Nov 27, 2013 18:26:46 GMT
Those "autographs" look highly suspicious to me. But hey, I've only been collecting Tull stuff for 45 years so who am I to know |
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 27, 2013 18:36:27 GMT
Those "autographs" look highly suspicious to me. But hey, I've only been collecting Tull stuff for 45 years so who am I to know Yeah, the cyber deals that I posted looked suspicious to me - thanks for the feedback.  Confirmation is all I ever need. LOL |
|
|
|
Post by maddogfagin on Nov 28, 2013 10:23:32 GMT
As for the above being genuine, which I have my doubts, here are two genuine MB & IA autographs.   I rest my case M'lud although I do realise that in the heat of battle, which is the stage door after the show, hastily signed items may look slightly different. |
|
Crank up the drum machines.
Thank you! Mad.
Confirmation is all I ever need. LOL