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Post by nonrabbit on Oct 7, 2012 11:35:51 GMT
Your kidding me - what'd you do that for?!! We're exactly the same age and now your making me feel old ...barsteward!! Your making the scenario of shuffling to the Dayroom of the old folks home called Autumn Days or some other patronising name seem real! Listening to some bloke called Dave playing Tull/Led/Genesis on his Yamaha and asking if we remember this one as we try to tap our arthritic feet to the beat. Shoot me now!! OMG - I'm getting this all the time now. Discount haircuts (only on a Friday), free bus pass, old age pension claim form waiting to be filled out, my team leader at work saying to others "but Graham's 64 and he can do it, so why can't you?", ad infinitum. Perhaps IA will think about reduced concert admission prices for those of us of a certain age now that he's 65. No, probably not. Yes I can see the old rockers - still performing giving out discounts for the over fifties ;D more likely discounts for the under twenties to hook them in. |
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Post by maddogfagin on Oct 19, 2012 12:25:14 GMT
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Post by maddogfagin on Oct 27, 2012 13:02:50 GMT
Dr. Paul interviews Jethro Tull's founder Ian Anderson.www.youtube.com/watch&v=qMutRqdT-sgPublished on 25 Oct 2012 by Paul Poirier "The lead singer has graciously agreed to narrate our biographical documentary film on brain cancer, The Test of a Man (www.testofaman.com). The film is expected to be completed by late spring of 2013. Jethro Tull are presently touring the USA with their "Thick as a Brick 2" tour until December so we seized the opportunity to go down to NY city and meet the man in person."
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tullist
Master Craftsman
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Post by tullist on Oct 27, 2012 15:39:20 GMT
Great find Graham. Was very much enjoying this interview, (being among maybe 3 people who actually want to hear, in greater detail, references from IA on the fish years)until this man had to start in on one of a handful of my great musical aversions, the classic case of Black Sabbath. As with the Grammy scenario, or David/Dee Palmer it just irks me that one of the main things folks seem to want to know is about the two seconds Tony Iommi spent within Tull.
And this after having read the uneasily well composed review of the show from 10 years ago, and its mention of Ian in a miniskirt, (a vision or notion I kind of like for about 2 seconds, as long as it leaves my brain immediately thereafter)and its not entirely innaccurate description of my generation. Oddly, speaking strictly of my immediate circle of maybe 50 people at the height of Sabbath's power, if not their fame, (as history to this point has seen fit to deify them)I cannot think of a single one, including those who had an appetite for THC or Angel Dust, who put much creedence in Sabbath. Even the ultra hip local station, XRT, who in those years covered almost every form of music known, never has played Sabbath, I believe to this day. (that station still exists, although within a much tighter scope over the past 35 years)If we have to be dismissed as the dazed and confused generation, please connect is with the Grateful Dead, not the circus sideshow with Ozzy as ringmaster. They, and whatever connection they ever had with Tull embarrass me, as does Uriah Heep and Rush. ACK!
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Post by steelmonkey on Oct 27, 2012 15:43:17 GMT
I know, can you imagine Ian trapped on an airplane next to Ozzy for a transatlantic flight? I'm afraid only one of them would walk off the plane. Or how about the Anderson kids meet the Osbourne offspring.....awk-ward!
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Post by maddogfagin on Oct 27, 2012 15:50:01 GMT
I know, can you imagine Ian trapped on an airplane next to Ozzy for a transatlantic flight? I'm afraid only one of them would walk off the plane. Or how about the Anderson kids meet the Osbourne offspring.....awk-ward! Having met James a few times I reckon the Osbourne "kiddies" would be in for a sound beating/good verbal thrashing. |
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tullist
Master Craftsman
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Post by tullist on Oct 27, 2012 16:11:57 GMT
You know Bernie, I suspect IA would make the most of it. I will admit that its not like they have nothing in common, and I do think IA has a comic interest in some of Ozzy's past behaviors. Additionally having grown up at about the same time in non London parts of England probably would give them a mutual reference point. I would much rather if that guy had asked him questions about Dave Pegg or Bernie, or whether he has latched on to this online personage of Non Rabbit, maybe giving a few assorted examples of each of their online observations.
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Post by steelmonkey on Oct 27, 2012 16:42:18 GMT
yeah...if Ozzy was on his best behavior I could see Ian making the best of it and enjoying what those people would call Brummie gossip....but if Ozzy cursed and drooled and farted, Ian would slap him!
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Deleted
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Post by Deleted on Nov 7, 2012 19:40:26 GMT
www.theaquarian.com/2012/11/07/arguing-with-ian-anderson-of-jethro-tull/Arguing with Ian Anderson of Jethro Tull—by Mike Greenblatt, November 7, 2012 Jethro Tull has been around now for 45 years. 28 musicians have been in the band but only one calls the shots: Ian Anderson. The image of Anderson, on one foot, playing the flute, is one of the more iconic images in all of progressive rock. He’s incorporated jazz, folk, blues and classical into his seamless mix and continues to tour globally with fans—Grateful Dead style—following him around the world. The current album, Thick As A Brick 2, imagines what might have happened to its original 1972 protagonist, Gerald Bostock, decades later. The conversation below was almost adversarial in that I had interviewed beloved Tull guitarist Martin Barre earlier in the year, and he was clearly upset over not being asked to participate in TAAB2. I knew Anderson, who is one of the more articulate, intelligent, philosophical and literate rock stars, could take my incessant grilling, so I went in with a mission. To his credit, he was a good sport and handled me with patience, professionalism and with a profound zen-like wisdom. How do you know when to get rid of certain guys and get other guys? You’re a crafty individual both in business and music, no?Well, it’s not as cynical or crafty as “getting rid” of guys. I have relationships. You come to enjoy oftentimes passionate friendships with other musicians whom you find productive for a while but sometimes you go into it knowing this is not going to be forever. It’s exciting—intellectually and emotionally—to play with certain people. No one is under any long-term marriage contract to make it a union for life so it’s not really a question of deciding when to get rid of them. It’s mutual. To drag on beyond the point to where it’s not fun and productive is not the best thing to do. Working with me, you can use that relationship to further your career. But then move on and do other things! Don’t get stuck in a rut by thinking you have to stick around me forever because I can manage quite well without you. I’ve given that advice to more than a few people. I’m not a guy who hires and fires like buying a new member of a football team. I’m a band leader in the tradition of Frank Zappa or John Mayall. I don’t think it’s fair to say we “get rid” of people just because they play a wrong note or something. We’re not that mean. Unless you’re James Brown.You’ll notice I didn’t mention James Brown amongst the good band leaders. He had a very bad reputation amongst his musicians for being exactly the kind of guy that maybe you’re alluding to. Another one very much in that vein is Van Morrison. He fires people when he gets bored with them! I love the lineup from ’95 to ’05 of you with Martin Barre, Jon Noyce, Andrew Giddings and Doane Perry.I think on a purely musical basis, it was a more flexible and adept lineup. Martin was at his best, continuing to develop. They were polished on stage, too. I don’t think, though, they quite had the fire in the belly for recording. At least a couple of them were never at their best in the studio. I think the pressure got to them. Who?That’s not something I feel I would want to say because it would suggest somebody wasn’t up to the mark. I never betray my friends, musicians or otherwise, by criticizing them. Some people enjoy the stage but tremble at the knees when they walk into a studio where it’s for real—a test, if you will—with the resultant pressure. I feel the pressure too as a producer, musician, composer and arranger. The buck stops with me. But, nonetheless, the adrenaline rush of building momentum is one that overcomes the trepidation. So I can see it from both sides. Why wasn’t Barre or Perry part of TAAB2? The fans were up in arms about it and it caused no small amount of controversy. You told Pat Prince of Goldmine magazine it was a scheduling conflict but Martin told me that…I did not use the phrase “scheduling conflict.” Back in June of 2011, on a few occasions, I met with Martin and Doane to talk to them about 2012. I explained I had been working on a new project which was probably going to take up most of my 2012 time, that it was a conceptual project; that I did not want to pursue it under the Jethro Tull banner. We then discussed what those guys might be doing in 2012. The talks were well-scheduled and we all agreed they would pursue other avenues that they had, mind you, already been thinking of. That’s hardly a “scheduling conflict.” It was a plus, a bonus; it was finally time to do some other things on a personal basis. Particularly for Martin. He’s actually a year older than me. We’re not guys who can go on forever. Martin and I have talked over the last few years about him pursuing some solo projects. It’s not anything unusual or even particularly new. Look, I have no intention of being drawn into a sparring match here. There is no conflict. It’s just people doing their own thing. Maybe Martin might have felt, in some way, snubbed, not to be asked to do Thick As A Brick 2 and, if so, I can understand that, but there was plenty of notice for Martin and Doane to think about pursuing actively their alternative personal plans. Martin, as you probably know, is out and about doing tours as we speak. Doane is recovering from a health issues. How often do you keep in touch with them and other ex-Tull musicians?We’re in regular touch and chat about this and that. In fact, I’m sort of disappointed if a couple of days go by and I don’t get an email from one of the 28 musicians I’ve played with over the years in Jethro Tull. I’d like to think I’m on pretty good terms with most of them. In fact, looking down my emails as I speak to you now, I can see yet another email from an ex-musician who was once in Jethro Tull. Ooh, he’s inviting me to a, well, I should have a degree of discretion; let’s just say it’s an important private function. I rather like when I get these… Wait, hang on, let’s see, here’s one… Two, two ex-musicians, three, another musician who once came to work with me very briefly and decided not to pursue, ooh, hold on, here’s another two, and this is just today’s emails. I kind of like the fact that we have this big extended family thing going on that I’m a part of. Speaking of family, I’m a paid-up member and supporter of an entity called “Population Matters.” I’m very concerned about people’s attitudes towards birth control. I’m one of those people who believe we all should be entitled to have a child or two… But stop at two! Let’s try and put the lid on population expansion. We’re already at a point where we can’t feed the planet. There’s no real possibility of increasing our food production for years to come in this topsy-turvy climate change world. This is something that actually matters to me. I have two children. I have two grandchildren whom I hope to have a hand in fostering. So that’s okay. I’m on target. I’m a responsible inhabitant of the planet Earth. I’m in that place where we can see minimal or no population growth as a direct result of my personal seminal fluid. But I have my extended family, 28, wait, two of them, sadly, have passed on, so 26 surviving Jethro Tull mates who I’m kind of proud of. So you would not be adverse, then, in the future, to possibly playing again with Martin Barre?Absolutely not. In fact, in one of the last conversations I had with Martin, I was talking to him of doing a little acoustic outing with just the two of us! We’ve never done that before. We’re all too used to the media-whipped frenzy of a Jagger-Richards will they/won’t they kind of thing… Well, this then, is the Jethro Tull equivalent. There’s a magic when you and Martin play…My point was going to be that it’s not the Jethro Tull equivalent! There isn’t that kind of a friction or bust-up. Jagger and Richards have had longstanding bad blood between them. No no, I don’t see it as an equivalent at all. Can we move on? We’ve done this one to death. On the new album, you almost go back to the original two Jethro Tull albums: less rock and more of other genres like jazz and folk.Well, there are some elements of jazz and blues at work in much of what I’ve written over the years. I’m a very eclectic musician who draws upon a number of different musical genres to try and integrate them into the musical mix. Jazz and blues are certainly part of that mix. What they have in common is improvisation. That’s the element that I think I take with me through my musical life. But I’m more drawn instinctively towards folk music and classical music. By folk, I don’t just mean the music of Great Britain or the United States; I’m talking about ethnic music of different cultures in different parts of the world. I’m more drawn to that as being something earthy, [heartfelt], built upon tradition, never changing. I’m less concerned with recreating historic folk themes or identities in the way we imagine they were done originally. I’m more passionate about folk music as an evolution based upon tradition of a culture. As far as classical music is concerned, classical is music of the head! It is the conscious skilled authority of learned musicians plying their trade. I’m drawn to that: The potential marriage of heart and mind, which seems the ideal music to pursue, combining the intellectual part of the process with the emotional. Finally, would you consider TAAB2 a metaphor for how our generation has changed through the years never knowing the kind of person we’re ultimately going to be?Not only would I consider it a metaphor, but it was designed and written very specifically to be, if you like, a metaphor for the lives of all of us who might look back and think how we might have done this life differently. “Oh, if I’d only married the girl next door. Oh, if only I’d taken up that offer of a full-time position. Oh, if only I’d have been a football player or professional bungee jumper.” Still, that said, TAAB2 is not just for us old folks. I really try to put in there some of the notion that it might amuse or kick-start a little thought for people in their teens or early 20s who are very much in that firing line of decision making where things are coming thick and fast with potential changes in life. It’s easy just to go with the flow, and some people do. Nothing wrong with that if you want to be relatively passive and let things wash over you and end up on whatever beach the tide and wind take you to. Some of us, though, want to swim against the tide. It’s good to encourage people to do that: taking seriously responsibilities not only for their own future but for friends and family who have played and will hopefully continue to play a part in their lives. Sometimes you have to make decisions on doing the right thing and sometimes that might mean accommodating the wishes of your parents! The album, in the end, is all light-hearted conjecture, really, but one can take out of it what one will. There’s a good chance I’ll be showing up on your doorstep to perform it within the next few months but, if you’re talking a few years down the road, you’ll just have to talk to my doctor. Ian Anderson’s new album, Thick As A Brick 2, is available now through Capitol/EMI. For more information, go to j-tull.com
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Post by nonrabbit on Nov 7, 2012 20:12:00 GMT
Brilliant!!
Thanks TT
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Post by steelmonkey on Dec 3, 2012 18:59:11 GMT
This is the interview that makes me worry about summer...he more or less says 'outside= modified bricks/Tull hits' rather than full Bricks continued. The interviewer is very patient with Ian when he goes on a bit like a typical 65 year old who repeats himself now and then or over-explains fairly simple points.
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Post by nonrabbit on Dec 4, 2012 9:35:46 GMT
This is the interview that makes me worry about summer...he more or less says 'outside= modified bricks/Tull hits' rather than full Bricks continued. The interviewer is very patient with Ian when he goes on a bit like a typical 65 year old who repeats himself now and then or over-explains fairly simple points. Why do old people do that? you know what I mean? Yes i know you know what I mean I only mentioned it to simply justifiy the point I was making.. again.. why do old people ramble?  |
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Post by maddogfagin on Jan 4, 2013 8:17:16 GMT
PLSN October 2012 Issue Jethro Tull’s Ian Anderson: Still Thick after All These Years As the wild-eyed flute-wielding frontman of Jethro Tull, Ian Anderson has often presented, with a hefty dose of camp, highly theatrical musical productions, and he’s been doing in over a span of 40 years. Whether through comic absurdity, interactive props, visual spectacle or dramatic flair, Anderson and Tull rarely disappoint audiences. So it shouldn’t come as a big surprise that Anderson has challenged himself, his band, his creative tech team and potential audiences once again by organizing his latest ambitious tour. To commemorate the 40th anniversary of the release of 1972’s satirical concept album Thick As A Brick (TAAB), Anderson will be performing TAAB and its sequel, 2012’s Thick As A Brick 2 (TAAB2), in their entirety on a 200-date run that stretches into the fall of 2013. Billing himself as “Jethro Tull’s Ian Anderson,” the Scottish native will hit the road with a relatively new, albeit highly capable, band featuring guitarist Florian Opahle, keyboardist John O’Hara, bassist/multi-instrumentalist David Goodier and drummer Scott Hammond. (Legendary Tull guitarist Martin Barre and longtime drummer Doane Perry do not appear.) Although some might label Anderson brave (or even thick) to undertake such a demanding production in the year 2012, the iconic rocker says he is up for the challenge. “It’s a big project, and one I wouldn’t really want to tackle this late in life if, for one thing, I didn’t really feel confident about it and, for another, that I would really be enjoying it a year and a half from now,” Anderson tells PLSN. “Ian does like a challenge, and he definitely has taken one on with this tour,” says Light Creations’ Mark Wheatley, the tour’s lighting designer and video director. “The production rehearsals, which were basically three days in the studio, were almost a sort of learning curve for everybody. Ian had these things in his head, what he wanted in the show, and we had to find ways of making them work.” “We’re all hungry for a degree of responsible, disciplined opportunities in music, and we know we have to work to achieve them,” says Anderson. “It doesn’t get any easier as you get older. It doesn’t get a whole lot harder, but it certainly doesn’t get any easier.” Spin Back Down the Years Anderson’s current tour revolves around the original inspiration for TAAB, which sought to parody a popular artistic vehicle of the early 1970s: the rock concept album. As such, Anderson created the fictional character, literary prodigy Gerald “Little Milton” Bostock, winner of a local poetry competition, who was later disqualified due to the “unwholesome” nature of his work. The entire sordid tale was reported in the fictional weekly newspaper, the St. Cleve Chronicle, a physical copy of which served as TAAB’s original LP packaging. Bostock’s poem, “Thick as a Brick,” was printed in these funny papers and conveniently served as the album’s lyrics. Fast-forward four decades. Anderson had considered writing a sequel to TAAB for years, but had finally penned and recorded one in 2011. The result, TAAB2, updates us on what Bostock, now aged 50, might be doing with his life. The substance of Bostock’s possible future life paths has made great fodder for Anderson’s theatrical rock production. To illustrate Bostock’s journey from youth to middle age (and various lyrical ideas such as war, coming of age and eroticism in both TAAB masterworks), Anderson and his son, James, the tour’s video designer, present original short video clips, pictures of the historic Bayeux Tapestry depicting the Battle of Hastings in 1066 and Vincent van Gogh’s post-impressionistic “Starry Night,” the apocalyptic visions of painter Hieronymus Bosch, startling stills of 20th Century battlefields, an oddly entertaining faux prostate exam and other compelling (if slightly less gratuitous) photographic artifacts. Using only one projector (either a Barco SLM R12+, a 12K Sanyo PLC-XF46N or a 15K Sanyo PLC-XF47), exporting HD video at 720p, Mark Wheatley beams these compelling sights onto a white projection screen at the back of the stage. (Anderson tours with two lens sets for visual options; the crew relies on the venue for the screen.) A 12K lumens minimum and a 700-watt LED fixture array help create a delicate balance between video and lighting on the backdrop. “You can see pictures in your head as you were singing bits of music that cried out for visual representation,” says Anderson, who compiled a reference document called “The Show Bible,” listing all of the theatrical and production directions for the show. “Other elements perhaps had to be explored a little more carefully. Sometimes what we do is a literal depiction of scenes; sometimes it’s more abstracted and sometimes it’s interplay between the characters on the screen and the musicians on stage.” One of the most evocative bits of imagery involves a lost frogman (i.e. a deep-sea diver with an “Aqua-Lung”). This concept dates to the early 1970s, but a fresh visual twist underscores TAAB2’s conceptual thrust. “The frogman … has a different and rather much more complex role to play in reminding us what it’s like being a fish out of water,” says Anderson. “We [rented] a frogman’s outfit from a London store and went out to Warwick,” says James Anderson, who was using a 35mm Nikon D5100 DSLR camera. “Ian got one of his friends to wear it, and we had some shots of him in [the scuba suit]. Then I … put the suit on and we went around Brighton and Ian filmed me. But [Ian] didn’t seem too keen on putting [the suit] on himself, though.” Modern technology has reinterpreted some other visual elements important to Tull’s early 1970s TAAB tour. For instance, when the band took the stage in 1972, they were wearing overgrown rabbit costumes. Rabbits do make an appearance on the current tour, but via video imagery, what Anderson calls a “bewildering array of abstract images,” which ultimately coalesces into a single rabbit playing a flute. “As is often the case these days it’s difficult to digest the lyrics whilst the show is in progress,” says James Anderson, who created HD content with Adobe Photoshop and Premiere on his MacBook Pro and iMac. “This helps bolster some of the thoughts and feelings behind the lyrics.” Before Anderson ever breaks into the famous acoustic guitar riff opening TAAB, the band waltzes around the stage, inspecting it in near darkness, while wearing factory laborer coats and hats. (It’s a wardrobe design — or is it malfunction? — that’s reminiscent of Tull’s 1972 TAAB tour.) A few minutes later, a short video sequence is shown on the projection screen. Anderson, dressed in white lab coat, glasses and wig, assumes the role of psychotherapist Dr. Maximilian Quad, who’s attempting to help a middle-aged Bostock through his personal issues. Bostock never actually appears on camera and, in a weird and quite ironic way, it’s as if we’re watching psychoanalysis of Anderson’s own mind. “That’s a clever vehicle to start ‘Thick As A Brick,’” says production manager Chris Archer. After an intermission, and before the second half of the show begins, video appears on the projection screen, spoofing MTV’s Cribs. The camera follows one Colonel Archibald Parritt (Anderson), who takes us on a guided tour of his expansive mansion for the YouTube channel, St. Cleve TV. “It’s completely preposterous, because it’s a … middle-aged English gentleman trying to portray himself as a bit of a playboy,” says James Anderson. Skype Hype In the hopes of adding further visual excitement to the show, the band attempted to use live cameras on stage. But budget constraints made attaining the proper equipment for image processing impossible. James Anderson, however, found a solution: he filmed the band during some of the tour’s earlier shows and edited these performances together. “Every night the music is played to a click, so I was able to sync the footage,” James Anderson says. “You have the impression of live cameras being on stage when there actually never is,” adds Wheatley. “It’s a neat little trick that works really well.” Another creative sleight of hand involves a takeoff on an old gag in which Anderson answers a ringing phone on stage after bring the musical action to a screeching halt. In the 2012 performance, Anderson answers his cellphone. The person calling is versatile violinist Anna Phoebe, who’s asked to perform with the band in a few minutes via Skype. “Then a Skype window appears on the projection screen,” says James Anderson. “Trying to make that work had us all scratching our heads,” admits Wheatley. “‘Do we sync this video to timecode? No, that’s far too complicated. ‘Do we do it to click?’ Won’t the click affect what people are going to be seeing and hearing?” As realistic as this action might appear, Phoebe is not really on Skype: she’s been pre-recorded for greater control of the interactive environment. “If the video goes wrong, timing wise, then you have a 12-foot woman playing a different song,” says Wheatley. Wheatley admits that the Skype sequence went awry, once. “[Drummer Hammond] played the whole song with a baffled look on his face, the poor man,” says Wheatley. “He took his inner ears out and managed to get through it.” Show In Suitcase, Will Travel Given the scope and budget of the tour, the theatrical rock crew’s lighting and video solutions needed to be flexible. With a ChamSys MagicQ Playback Wing, Green Hippo’s HippoCritter rackmount media server/video playback unit and a laptop running ChamSys software, the crew can “pretty much carry the show in a suitcase,” says Archer. “Mark has [the ChamSys] software on his laptop and the control surface with him no matter where we go. He can automatically update his programming and tweak things a bit.” “We did have to update the ChamSys software to merge some Robe Robin 600 LEDWash fixtures into the show, because they were set up [for a festival] as multi-part heads,” says Wheatley. “Having contacted ChamSys and explained the problem, they emailed a firmware update within the hour.” Wheatley’s laptop outputs Art-Net to the ChamSys DMX interface and the HippoCritter via a small Ethernet switch. Macros in Wheatley’s main lighting cues trigger video. “Ian likes some form of continuity from one [show] to the next,” says Wheatley, who says there are nearly 500 cues for the entire show. “It’s a case of making the lighting, the general list of the equipment, as flexible as possible, because then we can achieve the same overall look no matter what [fixtures] we use.” Wheatley’s lighting designs are bolstered by the strategic placement of three 12-meter trusses. The front truss, which secures moving lights, is located nearly two meters from the front edge of the stage (largely because Ian’s main position “is about two meters upstage,” says Wheatley). The mid truss, situated center-downstage and draped in black gauze for theatrical effect, often secures the projector and a small number of moving lights. The back truss “is where all the interesting stuff happens,” says Wheatley. “I have 10 wash lights, eight spots and the black gauze on there. The spots needed to be punchy enough to give me beam definition without using a smoke effect, because Ian is not a big fan of too much haze. The spots are also busy doing backlight on all the main positions on stage and, at some point in the show, I’m able to get acute angles to use for the black gauze backdrop when there’s no video playing on the screen. The mid truss moving lights are used for this backdrop as well, and to isolate the downstage area. Because it’s much more of a theatrical show, there are certain points in which Ian is literally walking the downstage area. This means I can isolate the downstage area rather than having to light through the band from the back truss.” Getting a Leg Up An unexpected feature of the TAAB tour is the addition of actor/co-lead singer Ryan O’Donnell, who appeared in a 2009 U.K. theatrical production of The Who’s ode to schizophrenia, Quadrophenia, and helps to bring to life Anderson’s lyrics by portraying a military soldier, a priest, a banker and more. (“I think perhaps people see [O’Donnell] as an alter ego for me, almost like a young, parallel Ian Anderson,” says Anderson.) O’Donnell, as a kind of acolyte, even provides comic relief by using his one main prop, a broomstick handle, as a make-believe flute while mimicking Anderson’s signature stage pose: a balancing act on one leg. “We’ve always played little snippets of [TAAB] in many concerts over the years, but we have never played all of it,” says Anderson. “Indeed, we couldn’t have played all of it, because it was not really playable live onstage with five people. So, I knew I would have to have an extra man [Ryan] to give me a chance to do all the other bits that crop up in the music …” “They’ve tried to remain true to the original,” says sound engineer Mike Downs, who recorded TAAB2, which, like its kin, was not swimming in unnecessary effects. O’Donnell also performs other stage functions for the band, such as opening and closing black gauze, which hides large white projection screens. “That completely changes the look of the stage,” says Wheatley. “It’s makes a big difference, being able to lose that white backdrop reflecting all that light onto the stage. In addition, when the gauze is drawn, a double image is produced by the gobo’d effect being cast onto it and through it, and onto the video screen behind it. It’s a nice, diffused, almost-3D effect. It’s an old gag, but it works.” Anderson has encouraged O’Donnell and, indeed, the entire crew to develop their performances throughout the tour. One recent example of the tour’s creative evolution involved the musicians sweeping their heads, in unison, from side to side as keyboardist O’Hara and drummer Hammond trade fours. “It’s as if they’re watching a tennis match,” says James Anderson. “I’d never seen that before they toured Iceland. I suspect this tour will be an evolving beast, much like the first [TAAB] tour was, open to reinterpretation and reevaluation. I think that’s why the guys enjoy doing the show.” “We’re a team,” says Ian. “The good thing about having a team of people with you is that they’re there to realize my sometimes not-too-carefully worked out visions and find a way that allows them to make their creative effort felt. There’s a degree of team spirit going on, and that’s nice to have.” www.plsn.com |
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Post by steelmonkey on Jan 4, 2013 16:44:23 GMT
Great interview...even without understanding the technical stuff about the lights/camera/action it's nice to get a sense of the effort, teamwork and level of engagement and challenge that this tour requires. I hope Ian's prediction that it will still be fun deep into 2013 comes true.
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Post by maddogfagin on Jan 5, 2013 13:23:34 GMT
news.bbc.co.uk/today/hi/today/newsid_9782000/9782026.stm#Spencer Hickman: Vinyl sales are on the increase2012 has turned out to be the British music industry's best year ever for the sale of singles, but album sales are still falling. If current trends continue, they will fall to 100 million this year, which will mean a drop for more than a third in the last 10 years. It might not necessarily signify the death of the album, but the dominance of the internet is having a detrimental effect on music retailers. Speaking to the Today programme, Ian Anderson of Jethro Tull said: "Today we can all get access to anything and everything that was ever released. It's all available out there now at the click of a button." But Spencer Hickman, formerly of Rough Trade Record Stores and co-ordinator of Record Store Day, says many still like the "ritual" of buying and playing physical formats. He said: "CDs are obviously steadily going down and have been for many years, but vinyl is on the increase."
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Post by Deleted on Feb 28, 2013 16:07:43 GMT
Ian Anderson Of Jethro Tull On Playing Guitar
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Post by Tull50 on Feb 28, 2013 19:40:59 GMT
Thick as a Brick sings the 40 (sings the 40 is a Spanish expression that is difficult to translate, is like claiming  ) www.fmrockandpop.com/2013/02/thick-as-a-brick-canta-las-40/ Google translate: Argentina, February 22, 2013 Ian anderson Ian Anderson returns to Argentina with his band to perform on March 10 at the Grand Rex theater, celebrating the 40th anniversary of a great classic of Jethro Tull. Alfredo Rosso spoke exclusively to Rock & Pop with Anderson we anticipated details of the next presentation. What are your memories about the composition of the play "Thick As A Brick? Is it true that every day I was adding new parts to the band learned, rehearsed and recorded?Yes Daily wrote about four or five minutes of new music in the morning and then I met the rest of the band in the afternoon, we learned the parts and we added to what we already had learned. So the album was constructed over a period of about ten days and then entered the studio to record it and that we will have taken another ten days, more overdubbing and mixing. And then we will have taken about two weeks to make art. I would say that everything was done in a spirit very intense, very energetic, but in a very short period of time. What was the original inspiration of "Thick as a Brick"?It worked out the words "I really do not mind, if you sit this one out" (do not really care if they choose not to hear this). I think I should have written that sentence in response to some of the most vociferous and loud in the audience, as we had been touring the year before presenting the album "Acqualung". And it was sometimes quite difficult to hear what you were playing on stage by the crowd noise. Perhaps they thought I was listening to a stereotype of rock and roll, but the fact is that screamed, howled, whistled, so that the situation was a bit rude. So one day I came up with those words, as if to say "well, I do not care if you do not want to hear this ... you can go." That was my opening gambit for "Thick as a Brick" but I thought, "Well, what Now what next? "And so, with the first line of the song came up the rest, in a very organic. But the sequel, "Thick as a Brick II", published in 2012, was composed of a very different way: I sat down to write a structure, a skeleton, say, and then I put meat on those bones. But the general idea was outlined on paper before starting to write each of the letters and composing music. Sometimes it's good to have a plan on which to build a play. With "Thick as a Brick", the original, I would say I was lucky, because it was growing and, in general, grew in the right direction. I think it could have been a little better if I had started with a structure or a plan on how to write but went pretty well despite everything, is an album that I'm very proud and very happy to be playing it on stage in these last two years. What were the main difficulties you had to overcome in terms of recording, taking into account that it was a piece almost uninterrupted, for 45 minutes?Well, the main difficulty was the musical complexity of the part, he did that all members of Jethro Tull we had to overcome our musical abilities. So it was a complex task in terms of the technical, or aprendernos the play and record. We had some problems in the study, which had to do with technical issues and we got some considerable headaches once everything was over because, for example, the machine that was doing the mastering stereo was not working well. So when we were ready to listen to our fantastic stereo mix, we realized it was the wrong speed! But not continuously, but in a tone that began and ended in another, because it was getting slower and slower. We then remixing an entire side of the disc, which was quite annoying. But these things happen ... Other groups have been much worse, but I remember feeling very frustrated at the time. "Thick as a Brick" marked a major step forward in terms of implementation group, synchronization, energy, etc. What was the reason for such progress?I think it has to do with the zeitgeist. If you look at some of the history of pop and rock, that was beginning between the late '60s and early '70s, and that extends to the middle of that decade, was a very deep and ventured into the music. Arguably the Beatles began with "Sgt Pepper ", the first Pink Floyd album," The Piper at the Gates of Dawn "was also quite revolutionary. And from then on we saw the beginning of something that would be called "progressive rock". I think it was a very interesting and brave move in many bands decided to adopt influences that were not traditionally part of rock music and integrated the concept of his music. Bands like Yes, Genesis, Emerson Lake & Palmer, King Crimson were perhaps the most famous in the progressive scene of that time. We took a step in that direction with "Thick as a Brick" also had fun just a bit with the concept of progressive rock concept album. But it was in part parody and part serious music. He began to be, as we say around here, "tongue in cheek" but ended up with their own serious element, next. It was a very album for its time, in a nutshell. I notice that you play several instruments in "Thick as a Brick", a lot of them in the same musical passage. Was it difficult to reproduce the complete works live back in 1972, without the benefit of modern technical gadgets like sampler, without going any further?It was really impossible, because there are several parts of the album where I am playing many instruments, sometimes simultaneously, at least on the record, thanks to overdubbing. That could not live. When we introduced "Thick as a Brick" in 1972 we had to make some concessions. Do not think we played all that time musical sections of the work. I think we left some parts out. But when we started rehearsing "Thick as a Brick" at the beginning of last year, we try to recreate as closely as possible all the live music. There are some moments during the show when we use the convenience of the sampler or sequencer and other contemporary technology. For example there is a fine flute part at the beginning of the work that is at the same time that my voice and my acoustic guitar. Obviously it is impossible for me to sing and play the flute and acoustic guitar at the same time, so to not affect the continuity, during rehearsals I played the flute live sampleamos that part, and put it at the right time in the live show, but the flute you hear me playing, during the trial, not someone else, it's me. I think it's the only place where there is a clear use of a technology that could be called "cheating". I think it's a catch, but people accept it because they prefer to listen to me play the flute that someone else playing that phrase in a synthesizer. I think authenticity is maintained. Also I have with another artist that sings and makes mime and theatrics. So we are a band of six instead of five, so we can cover all kinds of additional music. There are times when he sings a verse while I play the flute at the same time. In short, we cover all the musical elements of the original album, as they were recorded. Another aspect that was revolutionary at the time was the cover art of "Thick as a Brick", which included a real newspaper several sheets together with the disk. I imagine it must have been a struggle to get that concept approval from the recorder ...Yes, it was not easy. I thought it would be fun to do a kind of story that takes the form of a diary, and it was like a small village daily. And so when I started writing the material, with the help of a couple of members of Jethro Tull then present it to the record company and the head of the company was not too happy with the idea. But I was convinced we were doing something no one had done before and it would be different artwork from any other album. And it was! Which was unfortunate for John Lennon, because he was working on a similar idea and I did not know. And something like a month after the appearance of "Thick as a Brick", John Lennon released "Some Time in New York City", an album that also had the idea of the front page of a newspaper as cover. But ours was sixteen pages! The of him had only front page and back page. (Laughs). Paled a bit in comparison ... But I guess it was too late to change it. When two people have the same idea at the same time, the first coming steals the spotlight. It's like what happened to the Americans. Two weeks were able to put a man in space Yuri Gagarin but came first. It could have gone the other way ... I'm sure if I had met John Lennon and we had talked about our artwork project, one of the two had given up, but since we did not know, both work on the same idea without knowing . To benefit the most ardent fans of Jethro Tull could comment I would like some aspect or detail you want to highlight in this show celebrating the 40th anniversary of "Thick as a Brick" which will be presented soon in Argentina.We try to keep it interesting at all times with the extensive use of audiovisual, so we have several visual effects are outstanding, along with the Castilian translation of the lyrics, performed by one of the many translators I'm using right now, and we put subtitles in Spanish, German, Italian, Russian or the language of the place where we are presenting the show .. Moreover, we know that the Spanish varies according to the number of countries who speak it, so we have tried every means that we did the translation is understood by all the countries that speak the language. We want people to be entertained and also to understand what we say, but do not speak English ... Thick As A Brick (Special Collector's Edition, 40th anniversary)The special edition appeared in late 2012 classic Jethro Tull album 'Thick As A Brick ", first released in England on March 10, 1972 - brings a CD and a DVD. The Compact Disc has a remixed version of the album, by the musician and producer Steven Wilson (Porcupine Tree). For its part, the DVD brings the audio of "Thick As A Brick" in several configurations: remixed in 5.1 surround sound, also in DTS and Dolby Digital. There is also a high resolution version of the album remixed and finally año1972 the original mixture. The artistic design of this special edition has the shape and size of a hardcover book and includes periodic imaginary "St. Cleve Chronicle ", which was part of the original art, whose front page was the story of the child prodigy Gerald" Little Milton "Bostock, composer course existentialist long poem which is the lyric of" Thick as a Brick ". In this fictional story (as both the lyrics and the music are the work of Ian Anderson, Jethro Tull leader), to Bostock is awarded a literary prize, but then was disqualified due to public outcry, which labels have his poem "extremely unhealthy attitude toward life." The new art of "Thick as a Brick" also includes a special supplement in color with many photos of musicians, a chronicle of Jethro Tull and Ian Anderson reports, and musicians who participated on the album, as guitarist Martin Barre and bassist Jeffrey Hammond. Also included are interviews with recording engineer, Robin Black, and road manager of the band in those days, Eric Brooks, among other data and reports. As a final detail, it is noteworthy that in 2012, Ian Anderson published a sequel to the book, called "Thick as a Brick II", where various destinations speculated it may have had the "wunderkind" Gerald Bostock along its life in these four decades. |
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Post by Deleted on Mar 14, 2013 14:06:46 GMT
 Ian Anderson: betting on the rock concept albums-progress.MUSIC - Ian Anderson in fine tuning Thu, 14 March 2013 01:06 Google translate: careful as you read, readers.  www.brpress.net/index.php?option=com_content&view=article&id=7807(U.S. Press) - Ian Anderson, multi-instrumentalist of the British band Jethro Tull, is on tour in Brazil:'ve been through Porto Alegre and São Paulo and makes BH on Friday (15) at the Teatro de las Artes, and Recife on Saturday (16), the Teatro Guararapes. The tour commemorating the 42 year career of Ian Anderson will tour the legendary album Thick as a Brick in its entirety in several Latin American cities. The fifth studio album from the band consists of a strip of the same name, divided into two parts. His letter is supposedly based on a poem written by a brilliant boy, eight years old, named Gerald Bostock, or Little Milton. Anderson is self-taught composer and flutist. His style, which greatly relies on vibration technique tonguing (frullato), influences the renowned multi-instrumentalist Roland Kirk.Ele plays guitar (an instrument he learned during adolescence), bass, bouzouki, balalaika, mandolin, saxophone and harmonica . He recorded songs where not only played several instruments, but also took the sound engineering and production. The unique style of his music combines folk, jazz, blues, rock and pop. The lyrics of his compositions are often complex, full of puns, with acid criticism to society and religion into fantasy and allegory. Below, check out a little of his sharp tongue in an exclusive interview: To counter the criticism and overcome the memorable Aqualung (beloved by Brazilian fans today) in 1972 you recorded Thick as a Brick, one of the most iconic albums of the band's career and one of the most remarkable in the history of rock. It was the first album of Jethro Tull coming to No. 1 on both sides of the Atlantic. What made this album so popular? Ian Anderson - a bold conceptual work was intended as a bit like a parody of the concept albums of progressive rock, m = fazian like Genesis, Yes, ELP, etc.. People liked the fantasy elements of the surreal, I suppose. Now, 40 years later, we really do live the way it was recorded. We all spent time alone preparing the songs long before the tour started. Hard work and training the memory, as well as your fingers! The tour of South America includes performances of two albums: Thick as a Brick in its entirety and its sequel, Taab 2: Whatever Happened to Gerald Bostock?. How are the shows? Ian Anderson - We played both albums were recorded and just as we take a 15 minute break between the two halves of the show. With videos and various sections, means little more than two and a half hours to spend in my company. So bring a soft cushion to sit on and a hot soup and sandwiches. It's a long movie ... The fans are wondering, "Why not Jethro Tull?" And only Ian Anderson. Just as in the first version, the composition of Thick as a Brick 2 are of his own. What did you submit the following as a solo project and not the Jethro Tull? Ian Anderson - Jethro Tull I usually use as a generic name for best-of Tull tour, with guitarist Martin Barre as if he wants to do them. For projects with orchestra, string quartet, acoustic Christmas show or tour Taab use my own name. But from where I'm on stage, the shows are all the same regardless of what is written on the ticket. At the 1988 show, the Ibirapuera Gymnasium in SP, you did a solo on the flute Girl from Ipanema. Want to submit some surprise for your Brazilian fans? Ian Anderson - Yes, I could show my boobs. Unfortunately - as Steven Tyler - I have a little. Well, two of them. Size 38A. How would you describe a future for Jethro Tull? In future there is the possibility of a reunion with Martin and his friends?Ian Anderson - Anything is possible. But right now, my musical life is mapped to the end of 2015. I'm almost finished writing a new album which will be recorded later this year and released in 2014. So, here we go again! Gerald Bostock returns with his new plans. Concept albums and more progressive rock! Just what the world needs! Not? Maybe it's just my imagination. Would you like to leave a message to Brazilian fans and Latin America? Ian Anderson - How are you? Well, I hope. I miss everything since we last met, but I'm not very well. I was robbed in Belarus and lost my passport and my credit card. Please send some money to the bank account of Gerald Bostock: The Old Rectory, Mulberry Lane, St Cleve, UK. Do not forget to give your bank account information and passwords. (Almir Figueiredo / Special to BR Press) |
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Post by songfacts on Apr 22, 2013 18:59:50 GMT
Hello, fellow Tull fans! Songfacts.com here! We'd like to tell you all about our recent interview with the brilliant Ian Anderson. Ian talks Thick as a Brick (I and II!), Frank Zappa and tackling "the unstoppable population expansion of planet Earth" on "Locomotive Breath.” It's quite a read (if we do say so ourselves!): www.songfacts.com/blog/interviews....ve_a_formula_/We look forward to any feedback? Thank you so much, Tull fans! Songfacts.com |
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Post by Tull50 on Apr 22, 2013 19:09:55 GMT
Welcome songfacts and thanks for the link, I'll read it and soon give my opinion  Remy |
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Post by songfacts on Apr 22, 2013 19:12:23 GMT
Thank you!
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Post by maddogfagin on Apr 23, 2013 8:20:24 GMT
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Post by Deleted on May 13, 2013 18:41:04 GMT
concertblogger.com/2013/05/a-thicker-brick-q-a-with-ian-anderson/A Thicker Brick. Q & A with Ian Anderson Danny Coleman May 13, 2013 Ian Anderson was not only fortunate enough to front one of most influential rock bands of all time but to have made, in his words, “the right career choice.” The man whose identity, along with that of Pink Floyd, was probably more mistaken than any other in music history spoke with me recently about being ”Jethro Tull,” his peers, his upcoming tour in support of 1972′s Thick As A Brick, the decision to do it’s 2012 sequel Thick As A Brick 2 Whatever happened to Gerald Bostock? and his desire to continue to bring his music to the masses. Having prepared six questions for what was only scheduled to be a 20 minute interview, I was pleasantly surprised to have Anderson spend double that amount of time with me. He was candid, forthcoming and very satisfied with himself, his music and the journey that has taken him to this point. The following is a portion of the Q & A that took place just prior to him heading off to a rehearsal for the upcoming tour: CB: You’re doing Thick As A Brick in its entirety on this tour? Why Now? Anderson: “Well, last year it turned 40, seemed appropriate to recognize its significance. We will be doing it note for note just like the original in 1972.” CB: Why the sequel? Thick As A Brick 2 Whatever Happened to Gerald Bostock? Anderson: “I’ve been approached by many over the years to do a sequel. I suppose that I always thought about it half heartedly, the subject material, the validity of it all didn’t come to me before; but it did now. When it came to me, it came thick and fast, it came in about three weeks. I recall I had already begun the process for my newest album and I put it aside, I often figured that’s probably how it would’ve happened, definitely feet first.” CB: As you start this tour, did you ever imagine yourself still doing this after all of these years? Anderson: “I made a good career choice, doors don’t close on you. If I were a pilot I’d be very near (mandatory) retirement, an astronaut I’d be out of work, the only up elevator now is with the Russians. The idea of giving it up is not as increasingly seductive as the idea of fishing or golf. I have no desire to chase some little white ball around a green field or bait a hook. I find the prospect of still doing it into old age fascinating, it’s much better than giving it up. If you are even slightly successful why would you want to quit?” CB: Along those lines, do you have any thoughts or opinions on some of the bands like the Stones who’ve been doing their thing for all of these years? Anderson: “The Stones? Hmmm, there are three guys that have been there since the start, Ron Wood is the relative newcomer, he’s been there 30 years. There’s a reason why some of the bands who have been together a long time, their stars so to speak, stay at opposite ends of the stage; they tend to be in it just for the money and/or ego, they don’t necessarily like each other but they keep making music. The problem that I find with bands like the Stones, is that they are old rockers trying to make new music, when their fans want to hear old rockers making or playing old music. Their audiences want to hear the old material and the appeal isn’t necessarily there for the younger set. I really respect when to walk away with dignity. Lennon and McCartney knew when it was time to call it the end. People couldn’t understand why the Beatles split, they knew that they just couldn’t work together any longer. Pink Floyd, Dire Straits, The Police, they all knew when to leave while leaving the groups legacy in tact. I’m not speaking bad of anyone, because they were all very talented musicians in their own right but you see the true talents that rose from the ashes of those acts. Sting went on to a successful solo career, as well as Mark Knopfler and Waters from Floyd; these are the ones that obviously were the driving forces behind the music.” CB: There’s something to be said for longevity though isn’t there? I mean, you still take Jethro Tull on the road. Anderson: “A band to me is whoever happens to be in the room. You have to understand that it’s not forever, things change, people change, styles change; you need to rely on them (band mates) for only a short time then it’s time to move on. My current band is exceptional, very adept, great players but if one of them decides to move on I’ll be forced to replace them, it’s an ever evolving process.” CB: So who is in your current line up? Anderson: “I’ve been with these mates for awhile now. I have Scott Hammond on Drums, David Goodier on bass guitar, John Hile on keys, Florian Opahle on guitars and Ryan O’Donnell who is truly my alter ego doing additional vocals. Ryan comes from a theatrical background so he dances and sings; he adds a lot to the production.” CB: So when you look back on your Jethro Tull days from years ago, how do they compare to now; that band versus this solo tour? Anderson: “I truly hope that the musicians that were a part of it, both now and then, look fondly upon having to do their time with Jethro Tull. I’ve played with over 30 musicians just in the Jethro Tull line up. I don’t wax nostalgic because most of them don’t even perform let alone play anymore; they’ve all gotten on with their lives, involved with other things, careers, family and the what not. Hopefully anyone who takes part in anything that I do will look back at it fondly.” CB: So what does the future hold for Ian Anderson? Anderson: “(laughing) Rehearsal! Right now I need to get to rehearsal. I find that the rehearsals help me refocus. Life tends to get in the way at times and rehearsals help; when they’re good it’s comforting, when they are not, well let’s just say that doesn’t happen too often.” There you have it. Anderson was one of the most informative and interesting interviews that I’ve ever conducted. Ian’s confidence was only overshadowed by his brilliance. He showed no signs of slowing down anytime soon, was excited about embarking on his current tour and was as fresh as ever. Currently the tour is in Europe but it arrives in the U.S. with the first of thirteen shows beginning on July 5 in Las Vegas. To obtain more information and/or tickets please go to www.iananderson.com .  Photo by Martin Webb  Lineup L to R: David Goodier – Bass Guitar. Scott Hammond – Drums. Ryan O’Donnell – Vocals and Warehouse Broom. Ian Anderson – Flute, Vocals, Acoustic guitar. John O’Hara – Piano and Hammond Organ. Florian Opahle – Electric Guitar
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Post by maddogfagin on May 29, 2013 14:05:09 GMT
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Post by JTull 007 on May 29, 2013 16:58:57 GMT
Well this was a surprise. As far as the usual questions this interview got very personal about Prostate Cancer. Some serious discussion about religion and playing in churches was also cool. I like that Tull is not associated with any product although some may assume salmon to be one. The strange thing was someone talking on the phone in the background. This was not professional.  |
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Post by bjossilu on Jun 16, 2013 9:10:42 GMT
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Post by nonrabbit on Jun 16, 2013 14:45:30 GMT
Excellent interview bjossilu and Welcome to the Forum from me also ![]() Lovely snippet of Ian playing the flute in the Icelandic countryside. Never heard the story of how the clouds parted and a beam of sunshine miraculously lit up the flute hanging on the wall of the music shop Liked also the explanation about how writing music and his art background melt together. Thank you bjossilu - a great addition to the Forum I'm now looking forward to Ian Anderson interviews Bono! nonrabbit |
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Post by JTull 007 on Jun 18, 2013 17:56:39 GMT
Something new shared by Sir Remy of Catalonia Jethro Tull's Ian Anderson interview: 'I swapped £30,000 guitar for a £30 flute' Neil McCormick's Needle Time interview with Ian Anderson is broadcast Tuesday 18th
June 2013 at 10pm on Vintage TV (Sky 369, Virgin 343 and Freesat 515) Get the latest headlines www.telegraph.co.uk/ |
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Post by Tull50 on Jun 18, 2013 20:50:33 GMT
Something new shared by Sir Remy of Catalonia Jethro Tull's Ian Anderson interview: 'I swapped £30,000 guitar for a £30 flute' www.youtube.com/watch?v=1RkHbsjN0uENeil McCormick's Needle Time interview with Ian Anderson is broadcast Tuesday 18th
June 2013 at 10pm on Vintage TV (Sky 369, Virgin 343 and Freesat 515)Get the latest headlines www.telegraph.co.uk/Jim thanks for posting this for me, at that time I could not make a post and the video only had seven hits, then I think we were the 1st to post it, like many other things... Remy |
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Post by maddogfagin on Jun 19, 2013 8:35:29 GMT
Something new shared by Sir Remy of Catalonia Jethro Tull's Ian Anderson interview: 'I swapped £30,000 guitar for a £30 flute' www.youtube.com/watch?v=1RkHbsjN0uENeil McCormick's Needle Time interview with Ian Anderson is broadcast Tuesday 18th
June 2013 at 10pm on Vintage TV (Sky 369, Virgin 343 and Freesat 515)Get the latest headlines www.telegraph.co.uk/Jim thanks for posting this for me, at that time I could not make a post and the video only had seven hits, then I think we were the 1st to post it, like many other things... Remy An interesting programme although not the best I've seen on TV about Jethro Tull and Ian Anderson. Nothing really new - for instance we got the story about IA's guitar (previously owned by Lemmy Kilmister of Motorhead) that he swapped for a flute and microphone and in some ways a missed opportunity to show some extended live footage of the band that we haven't seen many times previously such as some footage from the "Around The World" four DVD release - it would have been a good programme to advertise its release. IA looked relaxed and at ease in front of the cameras answering many questions that he's had put to him many times before such as the old story about how he began standing on one leg when playing the flute and his reminiscences about Frank Zappa and also Captain Beefheart - Don Van Vliet didn't sound like a very nice person towards the members of The Magic Band. Unfortunately Vintage TV showed far too many commercials during the programme which made it disjointed and shortened the programme and to do real justice it should have been a two hour programme which would have allowed more footage of the band to be shown and not the rather short "snippets" that were broadcast. No mention of some of the "core" Tull albums apart from TAAB, Aqualung etc., and some of the better promo videos such as Heavy Horses were nowhere to be seen. I suppose it was better than nothing and certainly not one of the worst I've ever seen or heard but to really do justice to the Tull legacy programme makers should concentrate on aspects of the band that have'nt been explored previously and ask more revealing questions, ignoring those that we've seen and heard so many times before. For example - is there any live APP footage anywhere or when will some of the BBC and ITV footage be officially released in their entirety. For me it it scores 6/10 on the Tull-o-meter with the old school proviso "must do better next time". |
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But probably best in Humor, Games and Fun Thanks for sharing.