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Post by maddogfagin on Feb 1, 2022 14:28:52 GMT
For those like me who bought the 3 cd set - to compare and contrast maybe ?
Jethro Tull - The Zealot Gene (2022) FULL ALBUM Vinyl Rip 6,654 views Jan 28, 2022
lethalintoxication4900 8.09K subscribers
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Post by smint100 on Feb 1, 2022 18:47:34 GMT
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Post by maddogfagin on Feb 2, 2022 6:55:35 GMT
www.talkhouse.com/i-cant-get-anybody-into-jethro-tull-and-i-love-it/I Can’t Get Anybody Into Jethro Tull (And I Love It)Morgan Enos (Other Houses) on the prog legends’ new album and the joys of private musical communion. By Morgan Enos | February 1, 2022 I may come from a furniture sales background and spend 80% of my waking hours talking, thinking or writing about music, but I have a hard time selling three particular artists to my friends. The first is Randy Newman. “But he’s a mordant and incisive artist,” I say! “He has songs about bigotry and child murder and beating people up!” No dice: I guess the Pixar soundtracks are insurmountable for some people. (To clarify: I love those, too.) The second is Steely Dan. Despite their black humor and Serious Music bona fides (Wayne Shorter, Steve Gadd, and the Brecker Brothers played with them, for chrissakes!), I guess the yacht-rock perception remains — despite bearing zero aural or aesthetic resemblance to, say, Seals and Crofts. It’s the third I want to talk about: Jethro Tull. Newman may be an acquired taste, but much like The Dan, I argue that they offer something for most people. Thunderous hard rock? Dig Stand Up and Aqualung. Jingle-jangling folk? Head straight for Songs from the Wood and Heavy Horses. Electronic textures? Crest of a Knave. Knockout acoustic ballads? All over the place. Certain tunes, like “Wond’ring Aloud,” “Really Don’t Mind,” and “One White Duck / One White Duck / 0¹⁰ = Nothing at All,” I’ll take to my grave. And their first album since I was 11, The Zealot Gene — which arrived January 29 — just gifted me a few more. While Ian Anderson may be the only original member of the band, The Zealot Gene sounds more like their most beloved work than anything they’ve done in 30 years. But more importantly, highlights like “Jacob’s Tales,” “Sad City Sisters,” and “Barren Beth, Wild Desert John” rank among Anderson’s most psychologically rich and incisive offerings. All that said, despite a dozen albums I could cite — and my readymade treatise about the mystique, curiosity and raw intellect therein — I rarely get more than an, “Oh… cool” when I rave about Tull. This happens even when my captive audience is already a disciple of other progressive giants, like King Crimson, Genesis, or Yes. Given that I’m unable to call up my late father, a Tull disciple, I can feel somewhat solitary in this musical obsession these days. (Caveat: my wife, Brenna — who was reared on acts like the Chieftains — connects to the traditional-folk elements.) But perhaps there’s something to having a musical fondness that I share with few others I know. I love the Beatles, the Stones, and the Who, but they could never be mine. Tull feels mine. Allow me to theorize as to why Jethro Tull remains bizarrely underrated. Sure, they were a staple of classic rock and remain household names — even somebody with no real connection to their music probably knows the flute, the haggard fellow on the cover, and the “Aqualung, my friend” line. But whether it was due to the codpiece, the onstage pirate ship, the 45-minute song, or their ill-advised dalliance with the saxophone, Tull comes with some… connotations. And I understand: for every flawed album I vociferously defend, there are a few — like War Child, A Passion Play, and Under Wraps — that I never listen to at home. If those were their introduction to the band, I totally get why someone would pass. It helped that I started young. Even in my single digits, my dad taught me to listen to and understand their lyrics, even pausing the elliptical “Moths” over and over in his Honda Prelude so I’d absorb every line. Raised as one of Jehovah’s Witnesses — a denomination that emphatically opposes the trappings of mainstream Christianity — I was reared to grasp Anderson’s anti-dogmatic feelings in “Wind Up.” And growing up in nature on a steady diet of Tolkien, I could imagine “Jack-in-the-Green,” about a character somewhere between Tom Bombadil and Radagast, as a raggy denizen of my verdant surroundings. That’s all to say: it’s not like I grew to love Tull after I underwent the usual musical phases, from psychedelia to punk to hip-hop. I will freely admit that their connection to a beloved parent and my earliest memories makes me biased — an eternal Tull apologist. Anyway, to cite the Beatles again, the Get Back discourse was a startling reminder of their universality; everything I’ve mapped onto their story proved to be one tiny constellation in a supercluster of galaxies. But with pretty much just a smattering of my in-laws back home and some greyhairs on fan-sites aboard the Tull train, the communion feels more private — and therefore more special. I’ll make another admission: Tull’s acoustic material does more for me than the rockers, even though I love many of the rockers. This holds true for The Zealot Gene. While the blazing “Mrs. Tibbets” and “Shoshanna Sleeping” are great, it’s the suite of ballads near the end, from “The Betrayal of Joshua Kynde” to “In Brief Visitation,” that most speaks to me. And, gosh, that last one: I honestly can’t get it out of my head. Drawn from the Gospels of John and Luke, Anderson uses Christ as a launchpad to consider “fall guys” of all stripes. Wait a minute: Jesus as a fall guy! The notion would be off-putting if I didn’t know about Anderson’s abiding support for Christianity, or if the song wasn’t suffused with such love and wonder. “There are probably other cases where people who probably do good things still end up being pilloried in some way because they’re easy targets,” Anderson explained to me during a recent GRAMMY.com interview. That makes me think of Tull’s place in the musical landscape: beloved by a global cult fanbase, but largely frozen into an Anchorman joke otherwise. I’m at peace with that: if Anderson’s questionable, mid-’70s stage outfits made you head for the hills, great: more for me! Maybe they’re too brainy, too silly, too theatrical, too ambitious, too erudite, too comfortable with “uncoolness” for the hipster reappraisal train to pick them up along with ELO and the Grateful Dead. But for me, those are the exact qualities that make Tull like coming home.
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Post by maddogfagin on Feb 2, 2022 7:09:21 GMT
popculture.com/music/news/classic-rock-band-returns-first-album-19-years-jethro-tull/Classic Rock Band Returns, Drops First Album in 19 YearsBy STEPHEN ANDREW - February 1, 2022 11:41 am EST Classic rock band Jethro Tull has made a triumphant return, and last week they dropped their first album in 19 years. On Friday, Jethro Tull released The Zealot Gene, a full-length studio album featuring 12 brand new songs. This marks the band's first release since 2003's The Jethro Tull Christmas Album, and their first album of original material since 1999's J-Tull Dot Com. In a statement on the new record, Jethro Tull bandleader Ian Anderson (vocals, flute) offered some insight into the biblical mythology that The Zealot Gene is based around. "While I have a spot of genuine fondness for the pomp and fairytale story-telling of the Holy Book, I still feel the need to question and draw sometimes unholy parallels from the text," he said. "The good, the bad, and the downright ugly rear their heads throughout, but are punctuated with elements of love, respect, and tenderness." Anderson also addressed the band's previous touring plans being dashed due to the Covid-19 pandemic, "It was so sudden. Amidst the concerns and warnings of the scientific community and a few more enlightened politicians, we all retreated in disbelief to our homes to wait out the storm." Elaborating on his feelings regarding The Zealot Gene's biblical concept, Anderson made it clear to The Guardian that he does not necessarily want the album to be labeled as such. "The interest I have in a whole variety of subjects, from hard science to the cruel world of politics, is part of who I am," he told the outlet. "I'm an observer, which comes from my brief art history education – I see a picture in my head and I want to illustrate it musically." Anderson continued, "I fully understand if people look at my meanderings over many years and think: 'Oh, if you're making lists of words, the ones that come to mind about Ian Anderson would be pompous, vain, arrogant and self-indulgent.' But, hopefully, you might also think serious, studious, passionate and, above all, engaged." The Zealot Gene has been receiving quite a lot of praise from fans, with one tweeting to the band that it "develops in ears so instantly that one doesn't need to skip a track, the whole album ends, starts over again and you get amazed about how easily it flows in your ears." The fan added, "I can recommend this album to a new JT fan by skipping any old albums. Very well done Sirs!"
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Post by maddogfagin on Feb 2, 2022 7:24:48 GMT
technotrenz.com/entertainment/the-classic-rock-band-makes-a-comeback-and-releases-their-first-album-in-19-years-1619617.htmlThe Classic Rock Band Makes a Comeback and Releases Their First Album in 19 Years
February 1, 2022 Jethro Tull, the legendary rock band, has returned triumphantly, releasing their first album in 19 years last week. The Zealot Gene, a full-length studio album featuring 12 brand-new songs, was released by Jethro Tull on Friday. This is the band’s first album of original material since 1999’s J-Tull Dot Com and their first release since 2003’s The Jethro Tull Christmas Album. Iаn Anderson (vocаls, flute) of Jethro Tull gаve some insight into the Biblicаl mythology thаt The Zeаlot Gene is bаsed on in а stаtement аbout the new аlbum. “While I hаve а genuine аffection for the Holy Book’s pomp аnd fаirytаle story-telling, I still feel compelled to question аnd drаw sometimes unholy pаrаllels from the text,” he sаid. “The good, the bаd, аnd the downright ugly reаr their heаds throughout, but аre punctuаted with elements of love, respect, аnd tenderness,” Anderson sаys, referring to the bаnd’s previous tour plаns being cаnceled due to the Covid-19 pаndemic. We аll retreаted in disbelief to our homes to wаit out the storm, despite the scientific community’s concerns аnd wаrnings, аs well аs а few more enlightened politiciаns. Anderson told The Guаrdiаn thаt he doesn’t wаnt The Zeаlot Gene lаbeled аs а Biblicаl concept аlbum. “It’s pаrt of who I аm,” he told the outlet, “thаt I’m interested in а wide rаnge of subjects, from hаrd science to the cruel world of politics.” “I fully understаnd if people look аt my meаnderings over mаny yeаrs аnd think: ‘Oh, if you’re mаking lists of words, the ones thаt come to mind аbout Iаn Anderson would be pompous, vаin, аrrogаnt, аnd self-indulgent.’ But, hopefully, you might аlso think serious, studious, pаssionаte, аnd, аbove аll, engаged,” Anderson continued. Fаns hаve been prаising The Zeаlot Gene, with one tweeting to the bаnd thаt it “develops in eаrs so instаntly thаt one doesn’t need to skip а trаck, the entire аlbum ends, stаrts over аgаin, аnd you get аmаzed аbout how eаsily it flows in your eаrs.” Sirs, congrаtulаtions!”
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Post by maddogfagin on Feb 2, 2022 8:39:14 GMT
Jethro Tull "The Zealot Gene" | Album Review 339 views Jan 30, 2022
JC Rock and Metal Reviews 786 subscribers
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Post by maddogfagin on Feb 3, 2022 6:39:38 GMT
www.themaineedge.com/buzz/music/sound-bites-legends-edition-new-lps-from-tull-temptations-mayall-mellencampSound Bites (Legends Edition) New LPs from Tull, Temptations, Mayall, MellencampFebruary 2, 2022 This week’s edition of Sound Bites includes the latest releases from four heritage acts with well over 200 years of combined artistry in their rear-view mirrors. Each offers a nod to the past while remaining otherwise affixed to the present. Jethro Tull – “The Zealot Gene” (InsideOut Music/Sony) The first entirely new Jethro Tull album in more than two decades finds Ian Anderson a little cranky and that’s usually a good sign when it comes to the music. The record works on two levels: first as a fine collection of varied songs, each based on a different human emotion. As a concept album, it’s almost a reality show as Anderson employs contemporary themes of fanaticism, division and religion to deliver a new batch of richly recorded songs that sound like classic Tull. There’s a three-dimensional quality (especially with headphones) to the sound of first-listen highlights “Shoshana Sleeping,” “Mine is the Mountain” and “The Betrayal of Joshua Kynde.” You’ll find my interview with Anderson about “The Zealot Game” elsewhere in this issue.
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Post by maddogfagin on Feb 3, 2022 6:43:18 GMT
www.themaineedge.com/buzz/music/jethro-tulls-ian-anderson-talks-the-zealot-gene-and-why-he-has-zero-interest-in-criticsJethro Tull’s Ian Anderson talks ‘The Zealot Gene’ and why he has ‘zero interest’ in criticsFebruary 2, 2022 The last time Jethro Tull released an LP consisting entirely of new material, “Who Wants to be a Millionaire” was duking it out with “Friends” and “Frasier” for top TV ratings. The legendary prog-rockers have just issued a remarkable return to form with “The Zealot Gene,” a record packed with ambiguously constructed contemporary themes mated with the time-honored acoustic/electric balance of classic Tull. To put it another way, you’d need to return to the days of “Three’s Company” and “Happy Days” to find a new Jethro Tull album as consistently strong. Jethro Tull materialized out of the congested British musical landscape of the late 1960s as a blues-rock fusion hybrid. Band leader Ian Anderson’s desire to introduce non-rock characteristics to their sound resulted in the composition of more complex material that bridged hard rock with elements of old English folk, Celtic, classical and jazz, peppered with unusual time signatures and flights of conceptual fancy. By the early ‘70s, albums including “Aqualung” and “Thick as a Brick” topped the charts while fans packed arenas – and eventually stadiums – to witness firsthand Anderson’s wild-eyed stage-stalking, flute-embracing, codpiece-baring theatricality and his band’s virtuosic live delivery of its repertoire. Jethro Tull’s 22nd studio LP, “The Zealot Gene,” contains a dozen new Anderson songs each based on a different powerful human emotion. During an interview with The Maine Edge, Anderson said he first wrote a list of those emotions then noticed a number of them were words he associated with reading the Bible. “Although the songs are all meant to be songs about the world we live in today, I thought it was interesting to make a comparison to refer to versions of powerful emotions where they appear in the Bible,” Anderson said, adding that it’s not an album based on the holy book. “As I do in many things that I write, I try not to make it one-dimensional which is a narrow way of looking at any subject,” he said. Early glowing reviews for “The Zealot Gene” find critics and fans mostly on the same page for a change but Anderson admits to not paying much attention to what the world thinks of Jethro Tull. He admits to giving up reading the musings of music critics back in the mid-1970s. “It was pretty obvious after an early start where the world loves you,” Anderson said of his critics. “It was happening to everybody after two or three years of being given a positive welcome that people would inevitably feel that either your best days had gone or they wanted to move onto something else. I got used to the fact that we received a solid caning from a lot of journalists.” Always one of popular music’s most eloquent interviewees, Anderson didn’t mince words on the subject of social media which he tackles as subject matter on the title track for “The Zealot Gene.” “The black and white, the stereotype, the polarizing pitch at play, while some of us sit in between interminable shades of grey” Anderson sings in the song’s chorus. “I have zero interest in following what people, either fans or critics, might say on social media because it really serves as a platform for vitriol and general unpleasantness,” Anderson said, adding the song “The Zealot Gene” deals with “the use of social media as a tool of populist leaders of different countries who insist on creating even more division in society.” That division is also referenced in the album’s stark black and white cover image based on a self-shot photograph of Anderson. Following the release of his 2014 solo album “Homo Erraticus,” Anderson announced he would only thereafter release music under his own name. The about-face release of this record under the Jethro Tull banner came about he said upon his discovery that the members of his touring group made up the longest serving iteration of the band. Anderson says he’s ready for Jethro Tull’s 2022 tour despite the fact that a few upcoming dates may bring them to parts of the globe where the zealot gene appears to be running rampant at the moment. “We’ve already had to postpone for a fourth time our tour of Finland at the beginning of this year, followed by Sweden a couple of weeks later,” he said. “Now we’re onto Italy (Feb. 5), followed by Portugal (Feb. 18). Those should go ahead and I’m pretty confident things will happen during the rest of the year as they’re supposed to, with the possible exception of Ukraine, but that’s all down to Vladimir ‘Rich’-Putin and just exactly how much he wants to take over the world.” (“The Zealot Gene” by Jethro Tull is available now on CD, vinyl, and on all digital platforms. A deluxe version containing a Blu-ray disc with the album mixed in 5.1 surround-sound is set for release on February 4.)
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Post by maddogfagin on Feb 3, 2022 6:45:24 GMT
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Post by maddogfagin on Feb 3, 2022 11:30:01 GMT
ppuglobe.com/2022/02/tracking-new-music-releases-with-zac-wittman-spring-week-4/Tracking New Music Releases with Zac Wittman: Pinegrove, Jethro Tull, Eels, Earthless, CelesteWritten By Zachary Wittman, Music Columnist February 2, 2022 A slow week that sees many artists releasing their first albums in quite a while. Anger, sadness and nostalgia come together across these five notable releases this week. Jethro Tull – The Zealot Gene Folk Rock Released January 28, 2022 3.5 Globes out of 5 Despite being a massive progressive rock fan, it took me a very long time to understand Jethro Tull. Vocalist Ian Anderson never really did it for me, but guitarist Martin Barre kept me interested in the band’s output. When a new Jethro Tull album was announced without Barre’s involvement, I was ready to hate this. There was no way the first Tull album in over twenty years would be any good. After listening to this, I learned I shouldn’t be so quick to judge. For clarity, this is barely a Jethro Tull album. Just like the band’s 1980 album “A,” this was meant to be a solo album under Ian Anderson’s own name. However, he figured that it would be fine to release it under his previous band’s name after reviving it for 50th anniversary purposes a few years ago. Thus, we have the 22nd studio album from the legendary band. All the instrumentalists do a good job as they have years of chemistry built up as Anderson’s solo backing band. However, Anderson himself is the real highlight here. His flute abilities are still incredible and his voice sounds even better with age. He doesn’t reach for any unnecessary notes he can’t hit and he doesn’t coat his voice with any unnecessary processing. If anything, he proves he has always been a great vocalist and is certainly one of the best of the classic rock vocalists still going considering his understanding of his limitations. The most glaring criticism towards the album is the keyboard sounds used throughout, particularly on the opening song “Mrs. Tibbets” and the title track. They aren’t horrible, but they continue the trend that prog bands lose all sense of taste in that department once they hit the new millennium. To be fair, the album was recorded over five years, with a chunk of the tracks being done remotely in the past few years. Due to this, these few songs are without drums and take a more direct folk approach. Despite that, this is a surprisingly progressive album. There are a lot of moving parts throughout these short songs. “Mine Is The Mountain” and “Shoshana Sleeping” exemplify this very well. The band also haven’t lost a smidgen of their aesthetic, with Anderson writing bops like it’s 1399. A key component of enjoying Tull is understanding where the lyrics are coming from. In Europe, the concept of minstrels was vastly different to the racist caricatures conjured up in the US in the 19th century. Overseas, minstrels were medieval musicians who sang tales of fantasy and heroic quests. That distinction makes it easier to understand and enjoy Anderson’s references to these bard’s both directly and through his style of writing. With that being said, Anderson hasn’t aged a day in terms of composition. These 12 songs could’ve come out at any point in his illustrious career. While they lack the overall energy of classic Tull albums, these songs find comfort in their more restrained approach. Anyone who was a fan of the band previously will certainly find joy in songs like “Barren Beth, Wild Desert John” and “The Fisherman Of Ephesus.” The album doesn’t offer up an “Aqualung” or a “We Used To Know,” but it doesn’t need to have any standouts to be a perfectly fine album. Even if the album lacks some variety in it’s sonic palette, it never felt like it was dragging on. Color me impressed
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Post by maddogfagin on Feb 3, 2022 11:31:44 GMT
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Post by smint100 on Feb 3, 2022 11:38:02 GMT
ppuglobe.com/2022/02/tracking-new-music-releases-with-zac-wittman-spring-week-4/The most glaring criticism towards the album is the keyboard sounds used throughout, particularly on the opening song “Mrs. Tibbets” and the title track. They aren’t horrible, but they continue the trend that prog bands lose all sense of taste in that department once they hit the new millennium. To be fair, the album was recorded over five years, with a chunk of the tracks being done remotely in the past few years. Due to this, these few songs are without drums and take a more direct folk approach. Despite that, this is a surprisingly progressive album. There are a lot of moving parts throughout these short songs. “Mine Is The Mountain” and “Shoshana Sleeping” exemplify this very well. The band also haven’t lost a smidgen of their aesthetic, with Anderson writing bops like it’s 1399. A key component of enjoying Tull is understanding where the lyrics are coming from. In Europe, the concept of minstrels was vastly different to the racist caricatures conjured up in the US in the 19th century. Overseas, minstrels were medieval musicians who sang tales of fantasy and heroic quests. That distinction makes it easier to understand and enjoy Anderson’s references to these bard’s both directly and through his style of writing. "with Anderson writing bops like it’s 1399" - fabulous!
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Post by maddogfagin on Feb 3, 2022 12:22:20 GMT
Jethro Tull – Sad City Sisters (Making Of) 355 views Feb 3, 2022
Jethro Tull 155K subscribers
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Post by maddogfagin on Feb 3, 2022 17:12:11 GMT
Someone in Australia has doubts about the album spectator.com.au/2022/02/jethro-tull-the-zealot-gene/Has the whiff of Spinal Tap: Jethro Tull's The Zealot Gene reviewedRod Liddle 5 February 2022 Grade: C+ I bought the ‘seminal’ Jethro Tull double album Thick as a Brickfrom a secondhand shop when I was nearing my 13th birthday. I played it once and then wrote off the £1.85 of my pocket money with buyer’s grave remorse. Sometimes, when the yearning for that much better decade, the 1970s, overwhelms me I take it out of my vinyl collection as a salutary corrective: remember those ten years also gave us Baader-Meinhof, Idi Amin, the IRA and Jethro Tull. If folkish prog is on offer, I prefer the Strawbs, even if Dave Cousins is clearly a lot dimmer than Jethro’s idiosyncratic and likeable Ian Anderson. The Strawbs had one or two songs, though. Jethro had just one: ‘Life is a Long Song’, with its affected vocals. And its bloody flute. Has there ever been an instrument less suited to rock music? No, it doesn’t make it better if you play it standing on one leg. The bloody flute is all over this. Jaunty most of the time, occasionally, er, plangent — either way I kept seeing Ron Burgundy leaping from table to table. This is Jethro’s first in 22 years (no, no, don’t rush on my account, boys), a meditation upon the human condition — for which many thanks. ‘Soshana Sleeping’ is nicely built and there is a welcome hard-rock grit on ‘Barren Beth, Wild Desert John’. The title track is pompous, ponderous and goes on too long, quelle surprise. ‘Mine Is The Mountain’ has, for me, the distinct whiff of Nigel Tufnel and David St. Hubbins. Punk may have been a blind alley — but listen to this and understand precisely why it happened.
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Post by smint100 on Feb 3, 2022 17:26:23 GMT
Someone in Australia has doubts about the album Not sure why someone who clearly hates the flute is surprised when an album written by Ian Anderson contains . . . the flute - and is the reason to dislike the album It's like asking me to review Hardcore Dubstep after saying I don't like electronic music with a heavy beat
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stevep
Master Craftsman
Posts: 430
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Post by stevep on Feb 3, 2022 17:33:50 GMT
Wonder if he would feel better about the band if we all chipped in and sent him the £1.85 he spent on TAAB in the Seventies. Seems a very long grievance. I must have missed the double version of the album back then too? I never really thought that Tull fitted in with Ida Amin and others mentioned….
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stevep
Master Craftsman
Posts: 430
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Post by stevep on Feb 3, 2022 17:38:56 GMT
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Post by maddogfagin on Feb 4, 2022 17:57:06 GMT
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Post by smint100 on Feb 4, 2022 19:38:16 GMT
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Post by oldghost on Feb 4, 2022 20:25:41 GMT
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Post by smint100 on Feb 4, 2022 20:27:11 GMT
Even better! There's life in the old dog yet
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Post by oldghost on Feb 4, 2022 20:35:42 GMT
Even better! There's life in the old dog yet This is in fact first Tull UK top 10 album since 1972 !!! Who would have thought..
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Post by maddogfagin on Feb 5, 2022 7:48:46 GMT
Even better! There's life in the old dog yet This is in fact first Tull UK top 10 album since 1972 !!! Who would have thought.. www.loudersound.com/news/jethro-tull-land-first-top-ten-album-in-50-years-with-the-zealot-geneJethro Tull land first Top Ten album in 50 years with The Zealot GeneBy Jerry Ewing ( Prog ) published about 13 hours ago The Zealot Gene is Jethro Tull's 22nd studio album and their first for 18 years Jethro Tull are celebrating their first Top Ten album for 50 years with The Zealot Gene, which has entered the UK Album Chart charts at No. 9. The last time Jethro Tull were in the UK Top Ten was with the Living In The Past compilation album, which reached No. 3 in the UK charts in 1972, the same position as the Thick As A Brick studio album the same year. The Zealot Gene is the band's 22nd studio album and their first since 2003's Jethro Tull Christmas Album. In their review, Prog magazine said the album was "ripe with fresh inspiration and resonant of past glories", while Classic Rock described the music as, "light, bright, tight and recognisably Tull."
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Post by motoreyes on Feb 5, 2022 11:24:53 GMT
OK, let's try in English :
Since Friday I've listend to TZG every day and a lot of times. As many of Tullfans I was sceptical when I've heard the pre released three songs on YT. As on TAAB2 and HE the production seem....very reserved. In my opinion the band is too much in the background of the mix. Florians guitar is only on the right channel to hear - and mostly very low. But he played more solos as on HE. The drums seem to me also too low on the most tracks. And till now I was the opnion that IA should record and mix with an outside producer to solve some maybe production problems. But of course this lies only in his own decision and we all know he won't change it. And now I'm okay with it. The decisive fact for me is that he will produce as many new material as he could in his late stage as a musician.
Listening to the whole album, again and again, it grows on me. There's so much more on it that I missed on TAAB2 and HE (although these recordings are fantastic albums). IA sets a lot of musical "Tull Trigger Points" which seem long forgotten, imho. Maybe with some flute and guitar parts or arragements. And also in his now adapted style of singing. A really tender lead back to a pre 90th, maybe pre 80th, Tull Style.
There's not one weak song. My absolute favorite is currently Barren Beth, Wild Desert John. For me it's a very strong album. Tull is Ian, Ian is Tull, long live Tull.
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Post by smint100 on Feb 5, 2022 11:27:51 GMT
According to facebook, it's also doing well in Germany (4th in the charts) and Poland (Top 10)
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Post by smint100 on Feb 5, 2022 11:50:50 GMT
OK, let's try in English :
Since Friday I've listend to TZG every day and a lot of times. As many of Tullfans I was sceptical when I've heard the pre released three songs on YT. As on TAAB2 and HE the production seem....very reserved. In my opinion the band is too much in the background of the mix. Florians guitar is only on the right channel to hear - and mostly very low. But he played more solos as on HE. The drums seem to me also too low on the most tracks. And till now I was the opnion that IA should record and mix with an outside producer to solve some maybe production problems. But of course this lies only in his own decision and we all know he won't change it. And now I'm okay with it. The decisive fact for me is that he will produce as many new material as he could in his late stage as a musician.
Listening to the whole album, again and again, it grows on me. There's so much more on it that I missed on TAAB2 and HE (although these recordings are fantastic albums). IA sets a lot of musical "Tull Trigger Points" which seem long forgotten, imho. Maybe with some flute and guitar parts or arragements. And also in his now adapted style of singing. A really tender lead back to a pre 90th, maybe pre 80th, Tull Style.
There's not one weak song. My absolute favorite is currently Barren Beth, Wild Desert John. For me it's a very strong album. Tull is Ian, Ian is Tull, long live Tull. It's very interesting how different songs stand out for people. Over the reviews, I think I've seen every song named as a favourite by someone - which is testament to the variety and appeal of the whole album It's definitely one that stands up well to repeat playing - and I find something new with every listen
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Post by adospencer on Feb 5, 2022 16:02:29 GMT
OK, let's try in English :
Since Friday I've listend to TZG every day and a lot of times. As many of Tullfans I was sceptical when I've heard the pre released three songs on YT. As on TAAB2 and HE the production seem....very reserved. In my opinion the band is too much in the background of the mix. Florians guitar is only on the right channel to hear - and mostly very low. But he played more solos as on HE. The drums seem to me also too low on the most tracks. And till now I was the opnion that IA should record and mix with an outside producer to solve some maybe production problems. But of course this lies only in his own decision and we all know he won't change it. And now I'm okay with it. The decisive fact for me is that he will produce as many new material as he could in his late stage as a musician.
Listening to the whole album, again and again, it grows on me. There's so much more on it that I missed on TAAB2 and HE (although these recordings are fantastic albums). IA sets a lot of musical "Tull Trigger Points" which seem long forgotten, imho. Maybe with some flute and guitar parts or arragements. And also in his now adapted style of singing. A really tender lead back to a pre 90th, maybe pre 80th, Tull Style.
There's not one weak song. My absolute favorite is currently Barren Beth, Wild Desert John. For me it's a very strong album. Tull is Ian, Ian is Tull, long live Tull. Good review,I agree with all of this, especially about the production. In my Amazon review I described it as "Tull-lite". I guess IA s weak voice just cant compete with a powerful mix anymore. (At least the flute isn't as ridiculously forward in the mix as it was on the Christmas album) .It also lacks that quirky extra something that Barre brought to the party. As good as Florian is, his playing is very generic.
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Post by maddogfagin on Feb 5, 2022 16:56:32 GMT
OK, let's try in English : Since Friday I've listend to TZG every day and a lot of times. As many of Tullfans I was sceptical when I've heard the pre released three songs on YT. As on TAAB2 and HE the production seem....very reserved. In my opinion the band is too much in the background of the mix. Florians guitar is only on the right channel to hear - and mostly very low. But he played more solos as on HE. The drums seem to me also too low on the most tracks. And till now I was the opnion that IA should record and mix with an outside producer to solve some maybe production problems. But of course this lies only in his own decision and we all know he won't change it. And now I'm okay with it. The decisive fact for me is that he will produce as many new material as he could in his late stage as a musician.
Listening to the whole album, again and again, it grows on me. There's so much more on it that I missed on TAAB2 and HE (although these recordings are fantastic albums). IA sets a lot of musical "Tull Trigger Points" which seem long forgotten, imho. Maybe with some flute and guitar parts or arragements. And also in his now adapted style of singing. A really tender lead back to a pre 90th, maybe pre 80th, Tull Style. There's not one weak song. My absolute favorite is currently Barren Beth, Wild Desert John. For me it's a very strong album. Tull is Ian, Ian is Tull, long live Tull. Good review,I agree with all of this, especially about the production. In my Amazon review I described it as "Tull-lite". I guess IA s weak voice just cant compete with a powerful mix anymore. (At least the flute isn't as ridiculously forward in the mix as it was on the Christmas album) .It also lacks that quirky extra something that Barre brought to the party. As good as Florian is, his playing is very generic. Imo the quirky aspects of Ian's song writing is dealt with Where Did Saturday Go? which can stand alongside songs such as Up The Pool and Life Is A Long Song with consummate ease. A superb album
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Post by steelmonkey on Feb 6, 2022 1:18:39 GMT
Here is the song horse race after the first turn ( still a long way to go, of course) Leading the pack, neck in neck : Mountain, Fisherman, Beth and Title Cut, Close behind ; Tibbets. Shoshana, Sisters and Joseph
Not far behind and all brilliant in their own way: Jacob,Saturday, Three and Visit
Not a single dud. This is one damn good album. I hear, like everyone else checking in: Classic Tull, SLOB, Rupi, TAAB2 and HE as well as dashes of the unreleased Opera songs and Tae With Princess.
But what I really hear is 'Maybe I'm Not Done Yet' !!!
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Post by maddogfagin on Feb 6, 2022 6:48:50 GMT
www.music-news.com/news/UK/146400/Jethro-Tull-land-their-first-Top-10-album-in-50-yearsJethro Tull land their first Top 10 album in 50 yearsCongratulations to Blackpool's Jethro Tull who land their first Top 10 on the Official Albums Chart in 50 years today, entering at Number 9 with their 22nd studio album The Zealot Gene. Their last Top 10 appearance was 1972’s Living In The Past. Don Brocotopped the chart with their first ever Official Albums Chart Number 1 with Amazing Things, beating off stiff competition from The Weeknd’s Dawn FM. Meanwhile, Liverpudlian folk singer Jamie Webster was the most-downloaded album in the UK this week; making him Number 1 on the Official Album Downloads Chart with his second studio album Moments (3). A non-mover at Number 4, Ed Sheeran’s BRIT Awards Mastercard Album of the Year-nominated = (Equals) was the UK’s most-streamed album of the week. Welsh rockers Scarlet Rebels are a new entry at Number 7 with See Through Blue, their first Top 40 album. Little Mix’s Between Us climbs back into the Top 10 this week at Number 8 following the announcement of Leigh-Anne Pinnock’s solo deal with Warner Records, while last week’s Number 1 – Years & Years’ Night Call – remains in the Top 10 for a second week at Number 10. Harry Styles’ second album Fine Line rebounds 13 places to Number 12 following his 28th Birthday earlier in the week (February 4). Further down, Paul Draper’s Cult Leader Tactics (22) becomes his second Top 40 solo album in the UK (and seventh including his albums as part of Mansun), and Eels’ 14th studio album Extreme Witchcraft (37) becomes their 16th Top 40 collection. Finally, Scottish duo Saint Phnx debut at Number 39 with their debut major label EP Happy Place.
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