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Post by onewhiteduck on Jun 17, 2014 9:40:01 GMT
Puer Ferox Adventus has, from the very beginning, been my overall favourite on the album. Nothing more to add Agree with Dog, although I can't split this and 'After These Wars' Worrying trend developing I have been agreeing a lot with the moderators lately. This is unintentional and I am more than happy with my unofficial role as Tull's or whatever Wales corres coress reporter. OneMediaDuck
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Post by nonrabbit on Jun 17, 2014 10:07:52 GMT
Puer Ferox Adventus has, from the very beginning, been my overall favourite on the album. Nothing more to add Agree with Dog, although I can't split this and 'After These Wars' Worrying trend developing I have been agreeing a lot with the moderators lately. This is unintentional and I am more than happy with my unofficial role as Tull's or whatever Wales corres coress reporter. OneMediaDuck Ah but we expect total agreement to take a few years especially from the warring Welsh. Eldest son off on a Swansea Uni reunion soon - look out for local paper headlines. Mind you he's getting on a bit himself so maybe not. I tell him and his mates to pop over to yours with a multi pack of Doritos whereby you can play Tull - they'd love that.
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Post by nonrabbit on Jun 17, 2014 10:17:39 GMT
Now, when I get a few drinks at the 'Inn', watch my air guitar come out and start shredding! Well they're a mad lot down there in Cornwall so they are. The only accent I would swop my Scottish one for.
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Post by nonrabbit on Jun 17, 2014 10:27:47 GMT
Turnpike is good but CDR is great! CDR>>Turnpike. 1) CDR 2) Old Blood New Veins 3) Doggerland 4) Engineer 5) After These Wars 6) Turnpike 7) PFA 8) TAB 9) BOTG 10)Pax Brittanica 11)In For a pound 12)Heavy Metals 13)MS Anyone else brave enough to do a top ten list? I'm not ready yet.
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Post by acreman on Jun 17, 2014 10:59:00 GMT
Yep, absolutely. But with HE, the ratio of good/great/interesting stuff to uninteresting stuff isn't where I'd like it to be. Way too much of the album flies by while doing nothing for me. I can think of only a couple of Tull albums that have quite as much "dead space."
I certainly don't think the album is bad or anything, but to be honest, I've been a bit disappointed with it so far. I'm still hoping that it'll eventually begin to appeal to me more, but since I've listened to it a lot already, and the material doesn't seem to be of the particularly complex/challenging sort that would require time to absorb and appreciate, my hope in that regard is running out.
I'll share my current track rankings just for the heck of it:
1) Tripudium Ad Bellum 2) Doggerland 3) Cold Dead Reckoning 4) After These Wars 5) Enter the Uninvited 6) New Blood, Old Veins 7) Puer Ferox Adventus 8) The Engineer 9) The Browning of the Green 10) The Turnpike Inn 11) Heavy Metals 12) In for a Pound 13) The Pax Britannica 14) Meliora Sequamur
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Post by maddogfagin on Jun 17, 2014 12:19:37 GMT
Puer Ferox Adventus has, from the very beginning, been my overall favourite on the album. Nothing more to add Agree with Dog, although I can't split this and 'After These Wars' Worrying trend developing I have been agreeing a lot with the moderators lately. This is unintentional and I am more than happy with my unofficial role as Tull's or whatever Wales corres coress reporter. OneMediaDuck Mae'r gohebydd crwydrol Jethro Tull
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Post by JTull 007 on Jun 17, 2014 13:35:57 GMT
In the midnight hour, she cries Moor, Moor, Moor! With a rebel yell, she cries Moor!
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Post by nonrabbit on Jun 17, 2014 13:55:02 GMT
See! you'd fit right in My Luvver* West country (slightly stereotypical) saying.
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Post by steelmonkey on Jun 17, 2014 16:23:22 GMT
But Mr, Tullabye, Enter The Uninvited is 1.5 or not even worthy of the list ?
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Post by steelmonkey on Jun 17, 2014 16:25:47 GMT
And here i thought everyone was resting down in Cornwall, writing up their memoirs, for the paperback edition of the boy scout manual....oh.
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Post by Deleted on Jun 17, 2014 16:53:11 GMT
THE AUDIOPHILE: Jethro Tull’s Ian Anderson brings back the flute for new HD audio album By Mike Mettler — June 17, 2014 Read more: www.digitaltrends.com/music/audiophile-ian-anderson-homo-erraticus/#ixzz34uqNCzB9 Follow us: @digitaltrends on Twitter | digitaltrendsftw on Facebook
Ian Anderson is a man with an audio mission. The once and future mastermind of the legendary Jethro Tull is now staking his claim as a solo artist, having just released his second album under his own name in two years and hitting the road for another world tour. How does he do it all?
“Well, I’ve not successfully been able to clone myself yet, much to my wife’s disappointment,” he told Digital Trends. (Maybe someday.) His new album Homo Erraticus (Calliandra/kScope) is another critically acclaimed collaboration with Gerald Bostock, Anderson’s notorious compatriot on a pair of Thick as a Brick albums, and it features scores of progressive rock jamming and of course, masterful flute soloing.
I spoke recently with the hard-charging Anderson, 66, about the amazing surround-sound mix of Homo Erraticus and the critical importance of high-definition, 24-bit recording. Clearly, Anderson is a man who will never be too old to rock and roll.
Digital Trends: Do you feel strongly about having your music made available to listeners as high-resolution, 96-kHz/24-bit files?
Ian Anderson: Well, I’m very keen on the 24, which is absolutely necessary to get the best out of digital recording. 16-bit recording is alright — or it was, back in the ’80s. But 24-bit is not just 8 bits better — it’s a huge amount better.
That probably represents the limit of our human physiology to appreciate any difference between 24-bit digital and the analog world in which we live, in terms of recording. 24 bits is all we need. There’d be no point in going to 32 bits. That would be beyond our ability to perceive any actual benefits.
But 24 bits is crucial. 96k, to me, is just double the file size. I’m personally a believer in 48k/24-bit recording, because with 48k, you’ve got ample headroom to more than exceed the limits of human hearing. 48k is going to give more than 20k of bandwidth, and anybody who pretends they can hear more than that is just bull$h1tting. Even if it’s my dog.
DT: I was recently in New York with Steven Wilson, your usual go-to surround mixer, and even he said he can’t hear the difference between 96 and 192.
Anderson: I don’t think there’s any point to it whatsoever. 48k, for all intents and purposes, is just fine and dandy. If I’m doing something for somebody else’s album and they want to work in 96, then I’ll just dial in at 96k. But as far as I’m concerned, it’ll take twice as long to send them the file — and there will be no perceptible difference.
So many other elements in the signal chain can degrade the quality of sound that I don’t think we need to be worrying whether it’s 48k or 96k. What we should be worrying about is the clarity of our signal, the quality of our microphones, and the quality of the music we’re producing in the first place — whether it’s the sound of human vocal chords, a Hammond organ, or an electric guitar. There are far more crucial things to worry about than the sample rate. The bit rate is crucial. Anything other than a 24-bit recording would be a folly.
I do know some people who are still working at 16-bit. In fact, I recorded something for somebody a couple of weeks ago who said, “No, no, I’m doing it in 16-bit because it’s only going to be for CD release. There’s no point in doing it in 24-bit.” I thought, “Well, to me, there would be a valid reason to do it in 24-bit from a commercial standpoint, because it can be released that way for high-resolution outlets — DVD, Blu-ray, or 24-bit downloads. And there are people who want to have 24-bit audio rather than a compressed MP3 file. For someone who only sees the outlet as being a physical tangible product, I can see their point of view. But it’s not the way I would record.
DT: Tell me a little bit about how you arrived at the surround sound mix for Homo Erraticus. On what I’m going to call the mostly spoken-word track — Track 14, “Per Errationes Ad Astra,” where your vocal is being panned to each surround channel for dramatic effect — did you direct your surround mixer, Jakko Jakszyk, as to which part of the lyric went in the center channel, which part should go to the rear left, and which part should go to the right?
Anderson: Yes. I drew a little map on a piece of notepaper, and I took a photo of it with my iPhone and just banged it off to Jakko as a JPEG so he could see what I was getting at. Basically, I outlined the positions usually maintained by the general instrumentation, but once in a while you like to move things around to create something that’s on the move. When I went to his studio to do the 5.1 with him, he had everything readily in balance, and I set out the way I wanted it to be. We tweaked and changed a few things together, and then I let him get on with it and finalized it.
The 5.1 is usually an addendum to the main stereo mix, because by the time you’ve got your balances, your EQs, and your effects sorted out, going back to the 5.1 is just mainly about re-allocating positions and creating a 360-degree field. I’d say 70 percent of the original work is in creating the stereo mix.
DT: One thing I’m personally happy about is that, more and more, listeners have the option to get high-resolution audio files.
Anderson: Yes, it’s good that people have a choice if they want to hear a compressed digital MP3 file or they want to listen to uncompressed high-quality digital audio. The important thing is that people do have that choice to make. The second important thing is that they know how to make that choice.
It’s up to all of us to try and put it in layman language. There’s no point in going to extremes unless you’re going to take your listening very, very seriously indeed.
And it’s my job to be serious about it.
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Post by steelmonkey on Jun 17, 2014 17:06:19 GMT
My top five today:
Enter Cold Dead Turnpike PFA Engineer
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Post by bunkerfan on Jun 17, 2014 18:53:06 GMT
Puer Ferox Adventus has, from the very beginning, been my overall favourite on the album. Nothing more to add Agree with Dog, although I can't split this and 'After These Wars' Worrying trend developing I have been agreeing a lot with the moderators lately. This is unintentional and I am more than happy with my unofficial role as Tull's or whatever Wales corres coress reporter. OneMediaDuck I have to agree with you, I can't split Puer Ferox Adventus and After These Wars. I reckon they'd both be a good candidate for an extended play. Say 10 minutes each. For your latest trend in agreeing with the moderators, the cheque's in the post.
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Post by tullabye on Jun 17, 2014 19:40:55 GMT
But Mr, Tullabye, Enter The Uninvited is 1.5 or not even worthy of the list ? oops...memory lapse. Put Enter the Uninvited at 6 and move everything down one from there. Thanks monkey.
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Post by nonrabbit on Jun 18, 2014 15:57:58 GMT
Turnpike is good but CDR is great! CDR>>Turnpike. 1) CDR 2) Old Blood New Veins 3) Doggerland 4) Engineer 5) After These Wars 6) Turnpike 7) PFA 8) TAB 9) BOTG 10)Pax Brittanica 11)In For a pound 12)Heavy Metals 13)MS Anyone else brave enough to do a top ten list? I'm not ready yet. It's been over eight weeks now since the release and I will take on the task of a top ten except I can't do all the tracks as I'm confused in the middle bit. Overall I think it's a great album in looks and ideas. However it's not a total winner for me either in that there's too much repetition. Also too much similarity with TAAB2. 1. After These Wars 2. Doggerland 3. Pure Fox 4.Heavy Metals 5. New Blood, New Veins - love the flute. ? ? ? ? ? ? ? ? 14.Browning Of The Green. 15. Per Error My indecision for the middle bit and my eventual choices may affect the other bits.... well not the top bit.
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Post by steelmonkey on Jun 18, 2014 16:46:08 GMT
Pure Fox sounds like a Van Halen or Bon Jovi song !!! ( the title, not the song)
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Post by steelmonkey on Jun 21, 2014 15:21:47 GMT
The house of 'Homo Erraticus' has burned to the ground and the songs all need new homes. Some are obvious, some a bit of a placement stretch. Each older album only has room for one orphaned song...adjustments happily accepted:
Doggerland---Stormwatch Heavy Metals---Secret Language of Birds Enter The Uninvited---War Child PFA---A Passion Play Meliora Seq.---TAAB II Engineer---Aqualung Turnpike Inn---Roots to Branches Pax Brittanica---Rupi's Dance Trillium---Thick as a Brick After These Wars---Benefit New Blood---Dot Com In for a Pound---Stand Up Browning of the Green---Too Old to Rock and Roll Per Astrum---Under Wraps Cold Dead Reckoning---Minstrel
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Post by acreman on Jun 22, 2014 5:32:39 GMT
Cool idea. Here are my choices, with general feel being more of a priority than theme or instrumentation. Some of these, admittedly, are far from perfect fits... Doggerland -- Roots to Branches Heavy Metals -- Thick as a Brick 2 Enter the Uninvited -- Under Wraps Puer Ferox Adventus -- Stormwatch Meliora Sequamur -- The Christmas Album The Turnpike Inn -- This Was The Engineer -- Crest of a Knave The Pax Britannica -- Songs from the Wood Tripudium Ad Bellum -- A After These Wars -- The Broadsword and the Beast New Blood, Old Veins -- Stand Up In for a Pound -- Living in the Past The Browning of the Green -- Catfish Rising Per Errationes Ad Astra -- A Passion Play Cold Dead Reckoning -- J-Tull Dot Com You know, this little exercise made me pay a bit more attention to HE than I normally would while listening casually, and I think I like the record a little more as a result.
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Post by steelmonkey on Jun 22, 2014 19:34:48 GMT
I'm amending mine to agree on A for TAD and SFTW for Pax as better than my assignments
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Post by steelmonkey on Jun 22, 2014 20:17:01 GMT
But the start of Turnpike is SOOOOO RTB.
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Post by acreman on Jun 23, 2014 4:21:29 GMT
You might have a point there! But Doggerland has screamed RtB to me from the very first time I heard it, so I had to find a different home for Turnpike. For whatever reason, I think it could fit in fairly well with the likes of Beggar's Farm.
Really, I've gotta thank you. Giving HE a close listen to make my choices here led to me discovering a lot more things to appreciate about it, and a lot more of the melodies are sticking with me now. The album has taken on a new life for me.
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hipflaskandy
Journeyman
OK - this was a while back!
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Post by hipflaskandy on Jun 23, 2014 18:37:53 GMT
Mea Culpa - will eventually make pronouncement and listings - but, er.... can you believe.... I only just got hold of the album and need a few more listens yet afore settling... Mea Culpa indeed! Don't shun me! ;o)
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Post by Deleted on Jun 24, 2014 13:28:27 GMT
The house of 'Homo Erraticus' has burned to the ground and the songs all need new homes. Some are obvious, some a bit of a placement stretch. Each older album only has room for one orphaned song...adjustments happily accepted: Doggerland---Stormwatch Heavy Metals---Secret Language of Birds Enter The Uninvited---War Child PFA---A Passion Play Meliora Seq.---TAAB II Engineer---Aqualung Turnpike Inn---Roots to Branches Pax Brittanica---Rupi's Dance Trillium---Thick as a Brick After These Wars---Benefit New Blood---Dot Com In for a Pound---Stand Up Browning of the Green---Too Old to Rock and Roll Per Astrum---Under Wraps Cold Dead Reckoning---Minstrel Nil, nil. (couldn't resist) Thanks for that Bernie. When I listen to Homo Erraticus I think of DOT COM. I think of playing DOT COM...go figure.
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Post by steelmonkey on Jun 24, 2014 15:14:21 GMT
Maybe for contrast ? Dot Com is so guitar voice of Martin Barre !
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Post by nonrabbit on Jun 24, 2014 17:52:45 GMT
Mea Culpa - will eventually make pronouncement and listings - but, er.... can you believe.... I only just got hold of the album and need a few more listens yet afore settling... Mea Culpa indeed! Don't shun me! ;o) Nice to see you back Andy. I like the idea of you sitting in a corner doing your HE homework.
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Post by Deleted on Jun 24, 2014 19:22:46 GMT
Maybe for contrast ? Dot Com is so guitar voice of Martin Barre ! Maybe!
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Post by Deleted on Jun 24, 2014 19:24:15 GMT
www.axs.com/ian-anderson-discusses-yhomo-erraticusy-no-tull-tale-12936Ian Anderson discusses ‘Homo Erraticus’: No Tull tale By: Kevin Yeanoplos AXS Contributor Jun 24, 2014 4 hours ago If a moment’s insight is worth a lifetime of experience, then iconic rocker Ian Anderson has experienced countless lifetimes. Due in large part to his enlightened tunesmithing, the legendary artist has sold over 60 million records as both a solo artist and the innovative – and animated – frontman for fabled rock band Jethro Tull. There are no two better instances of his songwriting brilliance than the chart-topping ’72 Tull classic Thick As A Brick and its “much better late than never” follow-up, 2012’s Thick As A Brick 2 - Whatever Happened To Gerald Bostock? And to the delight of melodic songsters everywhere, Anderson provided yet another chapter in Bostock's mythical tale with the recent release of Homo Erraticus, the sixth diverse effort of his solo career. Anderson was kind enough to chat with AXS recently about the epic trilogy and its music-shaping influence. The original TAAB broadened rock beyond the limitations of the short song format. The album featured only one song that lasted nearly 45 minutes, written entirely by Anderson but crediting the lyrics to fictitious eight-year-old prodigy Bostock. TAAB2 provided Anderson with a self-professed chance to reflect on “how we baby-boomers look back on our own lives, and often feel an occasional 'what-if' moment. Might we, like Gerald, have become instead preacher, soldier, down-and-out, shopkeeper or finance tycoon?” The ambitious new record picks up with a middle-aged Bostock resuming his storied songwriting following a 40-year political career, with Anderson/Bostock chronicling the weird imaginings of amateur English historian Ernest T. Parritt after discovering an unpublished manuscript on a trip to a local bookshop. Homo Erraticus examines key events in British history as seen from the inimitable viewpoint of Parritt/Bostock/Anderson. As with Anderson’s initial foray into the world of the concept album – notwithstanding the fact that TAAB was actually a parody of a concept album – Homo Erraticus revolves around a central theme. But the thought provoking new effort goes far beyond that. Each song is an elaborate chapter in Anderson’s musical novel. And though it might seem that fashioning a cohesive 15-song opus would be more difficult than creating an album of distinctly separate works, Anderson thought otherwise. “No. I think in many ways it’s a much easier proposition because you’re working towards a plan. It’s like building a house. If you go out there with a couple of hundred tons of bricks and try and build a house as you go along then it might turn out well or it might turn out not so well. It’s gonna take you a long time and you’re gonna make a lot of mistakes along the way. But if you’re working to an architect’s plan then you can start at the beginning, do things in an orderly fashion and build your house.” “That’s what doing this kind of album is like. You’ve got to start off with a working plan and then start to evolve it day to day and build upon what you did yesterday. In many ways it’s a more satisfying way of working, but you’ve got to conceive of the plan. That’s what you’ve go to do pretty much at the beginning.” Setting aside the album’s exceptional musical concord, each of the pieces is able to stand alone – at once both dependent and independent of its album mates. Homo Erraticus’ singular duality makes it both a record for a casual listen as well as one more suitable to spend an afternoon with. “The intent is to give people that option,” professed Anderson, “if they want to get into the details and read the back story and get to grips with the detail and read all the lyrics. I try and build that into the plan. So the architect’s plans include for those who really want to, as you say, spend an afternoon with it or spend a lifetime with it.” “There’s casual listeners who just want to load the tracks through on the Internet and listen to them on their way to work on the bus or the subways. I have to cater for that option too. That’s part of the planning ahead of time, build things in a way so the pieces of music will be relatively stand alone and people just want to hear them in isolation -- not really read the lyrics or listen to the lyrics so much as just groove along in a fairly basic way. We try to build in that option for the less dedicated listener.” Anyone listening to the trio of chapters in Gerald Bostock’s musical saga is certain to be impressed with the way the albums flawlessly mesh – to the point of wondering whether or not Anderson had the entire framework in mind when he wrote the original album. “What happens is when you start working on new piece,” said Anderson, “whether it was Thick As A Brick in 1972 or Thick As A Brick 2 in 2012 or Homo Erraticus in 2013, these things all have an unsteady start. In the first few hours of working, you have the beginnings of something. But within 24 hours or a couple of days at most, you’ve got to try to find that structure, that more conceptual thing it’s going to be. And you have to do that pretty quickly. Otherwise, you are working in the dark, really.” “All of those more conceptual albums, and there have been a few of them – Too Old To Rock and Roll, Too Young To Die was essentially a concept album and so was Divinity, the instrumental album I did in the ‘90s with EMI’s classical division – began with maybe a little bit of music but suddenly they had to have a concept where I could work out where I was going. That’s kind of a nice way to work.” It seems somehow appropriate to describe the master storyteller as modern day classical composer given the record’s splendid intricacies. But Anderson would have nothing of it. “I certainly don’t think of myself as a poet. I can only conceive of words. As a rule, the words to me immediately imply melody. I'm halfway towards a melody when I read back the words that I've written. So I don’t think of myself as a poet. I write words to be sung, not words to look pretty on the page or for you to read whilst thinking out loud. I'm not a poet. I don’t even really like poetry. It makes me a bit nervous.” “But I think of myself really as being a music and lyric writer. ‘Composer’ is a nice term but it does sound rather lofty and self-indulgent and a bit too ‘you’re thinking of yourself in the same breath as Mozart or Beethoven’ – which of course would be folly. Both of those composers influence me to some extent – just in the way that I try to structure my music.” Whether they be poets or lyricists, many intuitive artists write from an autobiographical perspective. And even though it might be tempting to look for autobiographical allusions behind the grand tale that is Homo Erraticus, Anderson looked at the album in more straightforward terms. “That’s why I employ the good services of one Gerald Bostock, who’s an alter ego or a nom de plume, because he can say things that are not my expression, my belief. If I was just to write about what I thought, it would be very dull because I'm an extremely boring person. So I tend to invent characters. I tend to give them their own words and sometimes they say things that I really wouldn’t dream of saying personally. They voice opinions but they’re not my opinions.” “If Shakespeare had spent his time telling us about himself, we wouldn’t really have the body of work that Shakespeare produced and it would probably be almost as dull as mine. So what we have to do is remember that in the world of literature or movie making, theater, playwriting or in novel writing, writers invent characters. The characters are their own men and women. They don’t necessarily have to represent the true beliefs of their creator.” While it’s true that Anderson’s characters don’t necessarily reflect his views, the perceptive songwriter’s words are significant nonetheless. “I am trying to send a message with a lot of what I write. My message is just simply, ‘Think about this. Make up your own mind. Form your own conclusions.’” “But here in the West we pride ourselves on the democratic system that we constantly tell the world is better than what they do, especially Mister Putin and his notion of warped democracy – or whether we’re talking about people who are the villains of the world like Robert Mugabi or Kim Jong-un up there in North Korea. These are the folks, they are essentially dictators.” “We, however, think we’re above all that. We Brits, we Americans, we Germans, we French, we actually believe in a true democracy. However, the sad reality is that on most occasions, somewhere between 30 and 40 we get off our fat bums and can be bothered to go and vote.” “In political terms, my message that I would like to send out to people is that we are really lucky to have the option of making our little voices heard or to simply say, ‘all politicians are as bad as each other.’ And it’s about often picking the lesser of evils. But if you don’t read, listen to what politicians have to say and then react to it, then all politicians will all just go their own sweet way. We have to put pressure on them. My political message is very clear. Vote. You’ve got it. Be grateful for it. Now act upon it. Then goof off.” “The other message is perhaps more spiritual or moralistic. Whether you’re a follower of Islam or Christianity or Hinduism, the core messages of our organized religions tend to be good. So even if they don’t want to sign on the dotted line, become true blue evangelical Christians, there’s a lot of civility in the basic teachings of all churches. Those are things that we are in danger of losing sight of in a very materialistic age where generations of people are growing up with little sense of social or moral responsibility. Core values are really important for future generations to relearn to embrace.” In spite of Anderson’s seemingly cautionary tone, life continues to be the rock legend’s muse. “What inspires me is being interactive with the world around me. I'm inspired by what’s going on in the world. Sometimes I’m inspired in a very good and positive way because there are a lot of good news stories out there. But often, it is stuff that makes me angry, makes me depressed, makes me despair.” “We are the first generation on planet Earth in the history of mankind that actually don’t have to grow old and die in isolation away from family and friends and the world at large. We are in a better position to be able to communicate, express, engage with and generally have the kind of inspiration that our parents simply didn’t have. I'm very grateful for the fact that I can easily find inspiration along with the anger, the jealousy, the depression, all the things that go along with it.” Those would be our sentiments exactly Mr. Bostock – that is Mr. Anderson.
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Post by Deleted on Jun 26, 2014 15:10:51 GMT
Australia speaks;>) www.smh.com.au/entertainment/music/ian-anderson-cd-review-20140626-zskxd.htmlIan Anderson CD review : Date June 25, 2014 by Warwick McFadyen HOMO ERRATICUS (Kscope) 3 stars ‘‘Lyrics by Gerald Bostock, based on the writings of Ernest T. Parritt, c. 1927.’’ In 1972, Gerald Bostock was a precocious young lad whose life was detailed in Jethro Tull’s Thick as a Brick. Anderson resurrected the conceit in 2012 with Thick as a Brick 2, in which Gerald had grown up. With this release there is no Tull and while lyrically it is adventurous as anything Anderson has conceived, musically, the bell has well and truly tolled. Credit where it is due. No one else but Anderson could attempt to traverse from 7000BCE to 2044 in 15 songs and do it with intelligence and wit. But that flair is lacking in the music.
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Post by steelmonkey on Jun 26, 2014 16:23:50 GMT
I looked up the author of that review, 'Warwick McFadyen', He's a direct descendent of an illiterate convict and a promiscuous koala bear.
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Post by bunkerfan on Jul 5, 2014 18:02:25 GMT
I was out in my car this afternoon with of course Homo Erraticus on the CD player and when the opening bars of Enter The Uninvited came on I was passing a Cemetery and I thought it was the perfect image for the start of that song. See what you think.
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