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Post by nonrabbit on Mar 28, 2010 22:51:29 GMT
JUNE 4 Miami Bayfront Park Amphitheatre 6 Atlanta, GA Chastain Park Amphitheatre - tickets on sale March 27th 8 Vienna, VA The Filene Center 10 Ledyard, CT Foxwoods Resort Casino 11 Wantagh, NY Nikon at Jones Beach Music Theater 12 Atlantic City Caesar's Atlantic City - Circus Maximus 13 Holmdel, NJ PNC Bank Arts Center 15 Boston, MA Bank of America Pavillion 17 Canandaigua, NY Constellation Brands Marvin Sands Performing Arts Center - 18 Toronto Molson Amphitheatre 19 Windsor, ON Caesars Windsor - The Colosseum 20 Highland Park, IL Ravinia Pavillon Support acts Ian Hunter ...looking good for his age www.ianhunter.com/bio.shtml
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Post by nonrabbit on Jun 2, 2010 8:27:07 GMT
Here's the latest US interview with Anderson re The Washington Times communities.washingtontimes.com/neighborhood/riffs-music/2010/may/28/interview-jethro-tulls-ian-anderson/It must be very easy to be misquoted or bits missing out from interviews when it goes to print and it appears from the recent reports that he is not holding back from giving his opinion. Fair play however some of it is bound to be up for discussion. In particular in my case his thoughts on population control if he was still referring to Africa for eg in his last para;
“The idea of having four to five children seems completely absurd,” Mr. Anderson said. “We can’t support that. Go to the CIA website and reference the World Fact Book, it shows international population and fertility rates internationally.“ “If you look at a location, like Africa, there is an enormous rate of five to six children per female and this is frightening because the world cannot support this.” “It requires discussion and education of the women. We have to empower women to make better decisions
I'm not sure it is simply a case of educating women in Africa but the education of both sexes and giving both the freedom to make cultural changes should they wish?
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tullist
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Post by tullist on Jun 2, 2010 14:09:43 GMT
Here he shows again why I consider him the most cogent entertainer I have ever been exposed to, and there are loads of bright ones, certainly Garcia, Fripp, Lennon come immediately to mind. Population issues have long been at the forefront of my fears, if u look at the projected figures, the world will, was it within 15 years? have a population of 15 billion. I grew up with the idea that it was a given that there was enough food and water for the planet, that no one should be starving. I am buyer of the notion that this point was breached at about the 5 billion level, and even with the possibilities of factory farming, still with an unknown factor of the attendant health factors therein, (definitely not the sweet food that a good old family run farm can give u, and conceivably much worse)I occasionally shudder for the future when I view and am being amused by 2 year olds for instance, what is their future. Always have taken a small element of pride that Ian has put himself into another very difficult issue, water conservation, with a man, Mikhail Gorbachev, who would make the very short list of politicians I have boundless respect for. Even seeing him for the first time back in, what, 80, and parastroika, could just sense immediately here was a kind, clear thinking man. So afraid for my planet but totally ready for whatever developments the all deems as our reward. Have often opined that Ian could have made a politician of legendary acheivement and vision, though such people usually only get elected thru sheer force of personality, ala JFK and Obama, but I think Ian has that factor too. In any case, whatever one makes of the past 30 or 35 oreven 39 years of Tull, (as most here know I am very fond of all the years)I would take some measure of pride in the level of vision that comes from Tull's steward, I don't toss this stuff around lightly , but here is a great man.
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Post by Deleted on Jun 2, 2010 14:44:36 GMT
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Post by maddogfagin on Jun 3, 2010 18:21:08 GMT
Here he shows again why I consider him the most cogent entertainer I have ever been exposed to, and there are loads of bright ones, certainly Garcia, Fripp, Lennon come immediately to mind. Population issues have long been at the forefront of my fears, if u look at the projected figures, the world will, was it within 15 years? have a population of 15 billion. I grew up with the idea that it was a given that there was enough food and water for the planet, that no one should be starving. I am buyer of the notion that this point was breached at about the 5 billion level, and even with the possibilities of factory farming, still with an unknown factor of the attendant health factors therein, (definitely not the sweet food that a good old family run farm can give u, and conceivably much worse)I occasionally shudder for the future when I view and am being amused by 2 year olds for instance, what is their future. Always have taken a small element of pride that Ian has put himself into another very difficult issue, water conservation, with a man, Mikhail Gorbachev, who would make the very short list of politicians I have boundless respect for. Even seeing him for the first time back in, what, 80, and parastroika, could just sense immediately here was a kind, clear thinking man. So afraid for my planet but totally ready for whatever developments the all deems as our reward. Have often opined that Ian could have made a politician of legendary acheivement and vision, though such people usually only get elected thru sheer force of personality, ala JFK and Obama, but I think Ian has that factor too. In any case, whatever one makes of the past 30 or 35 oreven 39 years of Tull, (as most here know I am very fond of all the years)I would take some measure of pride in the level of vision that comes from Tull's steward, I don't toss this stuff around lightly , but here is a great man. Personally I'm not sure myself of Ian Anderson as a politician but I can see your point to a certain dregree. Prime minister - no, Cultural Secretary - possibly yes. ;D
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Post by nonrabbit on Jun 4, 2010 7:21:52 GMT
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Post by Deleted on Jun 4, 2010 13:22:06 GMT
More...Q&A: Jethro Tull's Ian Anderson Speaks Before Tonight's Mizner Park Show - By Lee Zimmerman, Friday, Jun. 4 2010 blogs.browardpalmbeach.com/countygrind/2010/06/qa_jethro_tulls_ian_anderson_mizner.phpAfter more than four decades, numerous personnel changes, and a musical trajectory integrating blues, rock, prog, folk, classical, and practically every other genre either straddling or circumventing pop's progress over the past 40 years, Jethro Tull's Ian Anderson has remained the band's leader and musical mainstay. His iconic image as the wild-eyed ruffian balancing precariously on one leg became, in the minds of many, the quintessential model of English eccentricity, a role Anderson assumed early on. "It obviously served the band very well as an identifying feature and a kind of logo," Anderson reflects. "But over the years, it became reinforced to the point where a lot of people don't know I actually have a real name. They think my name is Jethro Tull." Speaking with New Times from his London office, Anderson took time from a busy day preparing for Tull's latest American jaunt to share his thoughts on both the band and the times in which they dwell. After the jump, an extended Q&A featuring questions we couldn't fit in the print edition. New Times: What can we expect from a Jethro Tull concert nowadays? Ian Anderson: We have our flexible repertoire that we play in concert, but some of it we won't be playing in June in America because it's not appropriate for an audience that are drinking and smoking and generally looking for an upbeat experience. The music we play in different countries of the world is a little more esoteric and adventurous and not just the familiar songs Jethro Tull is expected to play. Playing outside of the mainstream of musical styles is harder for us in the U.S. in the summer when we go out as Jethro Tull. That's why I play more concerts in America as Ian Anderson, because I can play performing arts centers and I can be a little more adventurous in my musical repertoire. So what is the divide between Jethro Tull and Ian Anderson? The divide is very simple. Its whether or not I can get through a show without being shouted down by drunken lads. Frankly that's the reality, and its not only in the U.S., but also in other countries of the world where hooting and shouting is considered to be the norm. And frankly, that's the difference. When I do a show as Ian Anderson, the louts tend to stay home. When it's Jethro Tull, it's an outdoor show and even when it's an indoor show its going to be a much rowdier affair. It seems that "Aqualung" and "Locomotive Breath" are the inevitable show-stoppers that everyone waits for with bated breath. I don't have a problem playing those. They're good songs. I'm always happy to play them in concert because they're two of my best songs actually. Both of them are quite relevant in terms of the subject material. They're not about leaving my heart in San Francisco. They're not about some cultural moment in history. They're about issues rather than just love songs ... One is about homeless people and you still see them on the streets of New York and San Francisco and Washington and the other is about the relentless surge of ever more people jumping on the ride to nowhere. They're very contemporary issues in terms of population growth, immigration, all the issues that if they're not on people's lists, they're in people's lives. I tend to think nothing of immigration. I frankly don't really mind too much who my neighbors are - what color they are or what their religion is - I just mind how many of them there are. Do you really think people hear those two tunes as message songs, or are they relating instead to the killer riffs and refrains? I think that's always something you have to be aware of... that people listen to songs in different ways. There are those who hear the sound of the words, the emotion behind the words, rather than what they actually mean. But I don't think I'm a heavy writer at all. I'm a little leery of people who pour over the nuances and detail of lyrics, because I think it's easy to get too caught up in trying to figure out what really lies behind and inside the mind of the person who's writing the songs. That's a dangerous thing to assume. What draws you to the music you currently enjoy? There's a lot of foreign language music that I actually like, but I have no idea what the people are actually singing about. If I don't understand the words, I can still appreciate the emotions of the words and the melodies. I can enjoy listening to Finnish folk music or good Bollywood music, even though I have no idea what they're singing about at all. I probably listen to that more than I listen to music sung in English because frankly the words are mostly so appalling in terms of most rock and pop music. It's really repetitive and dreary and limited in terms of the vocabulary. Did you know that Aqualung was appropriated for both PlayStation and Rock Band? I have no idea. I don't do video games. Usually they seem fairly harmless. I'm quite circumspect about authorizing my music for violent video games of the shoot 'em up variety. I don't mind if they're vaguely musical or somewhat educational - giving these people a little bit of an opportunity to have a little bit of creative input into the musical world is okay I guess. How did you come up with that indelible riff? The irony is that the riff actually began with me playing it on an acoustic guitar in a hotel room in the USA back in 1970 (Sings "da da da da dah dum") and having been played on an acoustic guitar doesn't have a lot to do with the way it's been perceived. It became one of those big electric moments. Tull's had several archival video releases lately. When you watch these, do they put you back in the moment or does it become a detached observation? I'm often surprised as to the degree to which I really can identify with the moment. It is quite surprising, the little things that you do remember about particular concerts. You may not remember if out of the blue, but if you happen to see them on video or film or a TV recording or happen to hear a live recording from the early days, it does tend to sound frighteningly familiar. Generally speaking there's not a huge dissociation because I'm quite cognizant onstage. I don't drink or take drugs or whatever it is... except, um... once in my life I walked onstage not entirely focused shall we say, having imbibed a bottle of cheap chardonnay before I went on. But the reason I did it was because I had just heard that Frank Zappa had died and I was really quite upset about it because a few days before I had a message to call him and I didn't and I really, really felt bad about it so I drank some wine. And then I drank some more wine and then I realized 'holy $h1t, I shouldn't have because I don't feel very well...' But that's about the only occasion I can remember drinking. I think in the mid '70s I'd have a bottle of beer and sort of sip it either during the show or between when there was a lot of drum solos going on. Still, that was something I think I always felt a little bit nervous about, because you're aware if you do drink a bottle of beer... you could feel a certain loosening up. It might be okay if it's after dinner or in a bar somewhere, or sitting with a few friends. But if you're in a formula one race car or playing professional football or you're doing a rock concert, then you're aware that feeling good doesn't necessarily equate with playing well. So I've always tended to be sober and pretty much focused onstage and with a sense of alertness and heightened awareness of what's going on. So it's logical that I would remember all that stuff... or at least a lot of it. Early on, when you portrayed a kind of cartoon character in the long bathrobe standing on one leg, was that an attempt to make you the personification of the band's image? It was deliberate attempt on the part of our manager, Terry Ellis, and our record company, but at that point I wasn't all that comfortable with it because I was trying to stretch the boundaries of the band as a band. It became more and more a case of the focus being put on me as the front man and I was doing all the interviews and all the media stuff, and so it became all about me standing on one leg playing the flute. And (guitarist) Martin Barre and (drummer) Doanne Perry were considered my side men. At what point did you know that Tull had definitively broken through and the band had attained mega-stardom? Was Aqualung the defining measure? I think that the real watershed was after the Benefit album, because by then we had become quite well known in most countries of the world where we had played concerts on our own or as a headline act. I can remember at the end of recording Aqualung, at like seven o'clock in the morning when we finished the last mix at Island Studios on Basing Street, sitting with (then keyboardist) John Evans and saying, "That's it, we're done, and this one is either going to make us or break us in terms of fame and fortune, or else we've gotten as far as we're going to get and this one's going to be a relative failure and we'll be in a slow decline." I thought it was kind of a watershed album really, but being as it was new to the concept album concept and had some songs that were about stuff, rather than just love songs or whatever, we weren't sure how it was going to go down. And it wasn't that it was an enormous hit straight off, but it was a strong seller and has remained so for many years since. About ten years ago, it was up to about 12 million and I would guess it's sold a few since then, and I'm grateful that it's linked forever to the name Jethro Tull. Most people would say that's the thing they think of at the heart of Jethro Tull's career and repertoire, and interestingly it has quite a lot of songs that are just acoustic guitar and voice with a little decoration. It's not at all an all-out rock album by any means." What are your audiences like these days? That's a little difficult to tell. When we're playing a concert in Italy or whatever we'll expect to see a lot of audiences in their teens and early twenties. It seems that most of the people you see at these outdoor gigs are a lot younger. But what they see in us I don't quite know. Whether they see us as a generic classic rock band or whether they really do know specific songs and specific albums, I don't know. It may be that they've grown up with this stuff because that's what their parents listened to. Maybe they discovered the music early on in their preteen years. I think there are a lot of people who come to see Jethro Tull who might also go to see Deep Purple or any one of several classic rock bands from the early late '60s, early '70. It's an era then that clearly has quite a lot of authority and musical history. Jethro Tull's history dates back some 42 years. How has Tull managed to adapt to a 21st century world? Well, obviously times have changed dramatically and Jethro Tull's music has evolved from the blues in 1968 through the more progressive rock, folk rock and whatever the hell definitions have been applied over the years. But most of that evolution took place in a very free and creative time for young musicians that were working in the UK and the USA in particular. Of course these days, classic rock music is still on the radar because all the bands who played that music in the '70s and '80s and whatever are around playing concerts today. So it's still part of people's lives and still gets played on those blue comfort blanket radio stations in the USA. How would you compare the world the band came up in with the way things are now, at least as far as the music biz is concerned? Of course, it's a different world now and the major difference is that the music industry tends to be much more constricted. Physical product is very repetitive and while the haircuts change, the music stays very much the same. The more cutting edge rock music doesn't have much of an outlet compared to the massive preponderance of online access to music, but so much of the music that's downloaded in the world isn't paid for. So it's a pretty bleak future when it comes to making a living at it, let alone making any substantial level of income... unless you get to the stage where you can command good fees for performing live. Bit if you aren't going to sell records, you're not going to get the gigs and vice versa. So its difficult to break through. Musicians don't get the breaks and the kind of opportunities that musicians got 30 or 40 years ago. It's a tough life for young musicians and for those of us who are growing old and still performing, we look back on our early careers with a sense of good fortune at having been there at a time when you could actually achieve these things and you could achieve them on your own terms without the pressure of whatever people considered commercial.
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Post by maddogfagin on Jun 4, 2010 17:43:38 GMT
Thanks Tootull. Where do you find these gems? ;D
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Post by nonrabbit on Jun 5, 2010 9:23:26 GMT
Prime minister - no, Cultural Secretary - possibly yes. ;D i50.images obliterated by tinypic/20rodir.jpg[/IMG]
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Post by maddogfagin on Jun 7, 2010 11:44:06 GMT
The set-list from Mizner Park Amphitheater, Boca Raton, Fl. USA (4/6/10) from www.ministry-of-information.co.uk The support act was Ian Hunter Cross-Eyed Mary Beggar's Farm Nothing Is Easy Eurology A New Day Yesterday Pastime With Good Company (King Henry's Madrigal) Jack-In-The-Green Songs From The Wood Bourée Hare In The Wine Cup A Change Of Horses My God Budapest Aqualung Locomotive Breath
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Post by nonrabbit on Jun 7, 2010 14:23:42 GMT
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Post by nonrabbit on Jun 7, 2010 14:32:04 GMT
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Post by maddogfagin on Jun 7, 2010 16:31:17 GMT
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Post by Deleted on Jun 7, 2010 16:37:13 GMT
If Styx wins, I quit. I'll burn my Tull collection. ;D
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Post by Deleted on Jun 7, 2010 16:40:37 GMT
The set-list from Mizner Park Amphitheater, Boca Raton, Fl. USA (4/6/10) from www.ministry-of-information.co.uk The support act was Ian Hunter Cross-Eyed Mary Beggar's Farm Nothing Is Easy Eurology A New Day Yesterday Pastime With Good Company (King Henry's Madrigal) Jack-In-The-Green Songs From The Wood Bourée Hare In The Wine Cup A Change Of Horses My God Budapest Aqualung Locomotive Breath I'm very upset, no Dot Com. ;D Bah! I want a completely different set list. Repeat DVD Repeat
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Post by Deleted on Jun 7, 2010 16:49:28 GMT
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Post by maddogfagin on Jun 7, 2010 17:41:52 GMT
If Styx wins, I quit. I'll burn my Tull collection. ;D Know next to nothing about Styx - what are they like/what's the story
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Post by Deleted on Jun 7, 2010 17:53:45 GMT
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Post by Deleted on Jun 8, 2010 2:45:51 GMT
Hey, Aqualung: Jethro Tull set to play Wolf Trap show By: Robert Fulton Special to the Washington Examiner June 8, 2010 A funny thing learned during a phone interview with Ian Anderson, the lead singer of Jethro Tull: If music had not worked out for him, he would have explored a job in the police force, forestry or as an actor. Jethro Tull with Procol Harum Where: Wolf Trap Filene Center When: 7:30 p.m. Tuesday Info: $45 in-house, $30 lawn; wolftrap.org Luckily for lovers of rock 'n' roll, the music thing worked out. Anderson and the rest of Jethro Tull perform at Wolf Trap on Tuesday. "You can hide yourself a bit in the music," Anderson said from England the day before departing for the band's current month-long North American East Coast tour. Anderson has always been interested in acting, but prefers the comfort of music. "You're in your own world. Being in a band gives you that illusion. You don't feel exposed in quite the same way. For periods of time, you're not aware of the audience. You have to concentrate on what you're doing." Anderson will keep busy this summer. After playing a number of Jethro Tull dates, he plans on some solo shows. While he enjoys the theatrics of a live rock show, Anderson prefers the more attentive, intimate settings of his solo performances. "It's a more listening audience," he said. "More of a sympathetic audience." Founded more than 40 years ago, the British group Jethro Tull is probably best known as that band with the flute player (Anderson). The music ranges anywhere from hard rock to folk, and hits include "Aqualung" and "Thick as a Brick." "My longevity is just perseverance," Anderson said of his long career. It's notable that Jethro Tull's last studio album of all original work came in 1999. "I think those days are not going to come back," Anderson said. "The world we live in, that doesn't happen any more. Those days are long gone. It's a different world we live in." Anderson doesn't see the opportunities for younger artists that he had at the peak of Jethro Tull's popularity, which includes five platinum albums and more than 60 millions records sold. Music is consumed and promoted in a different way than it was 20 or 30 years ago. "It doesn't worry me. I just have fun going out and playing shows," Anderson said. He's mostly concerned with younger artists getting a fair shake. "They won't have the opportunity to achieve the levels of success. People took it for granted. Those days we'll never have again." While recording ambitious full length albums may no longer be in Jethro Tull's future, there's always the live show, something Anderson relishes. "You can't digitize live entertainment," he said. "It doesn't work." Read more at the Washington Examiner: www.washingtonexaminer.com/lifestyle/Hey_-Aqualung_-Jethro-Tull-set-to-play-Wolf-Trap-show-95795849.html#ixzz0qE3fY7Lh
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Post by maddogfagin on Jun 8, 2010 8:09:16 GMT
Hey, Aqualung: Jethro Tull set to play Wolf Trap show By: Robert Fulton Special to the Washington Examiner June 8, 2010 A funny thing learned during a phone interview with Ian Anderson, the lead singer of Jethro Tull: If music had not worked out for him, he would have explored a job in the police force, forestry or as an actor. ;D Wonderful quote from IA from Circus magazine in 1977 courtesy of www.tullpress.comI burnt my boats at 16 when I decided to leave school (he says). I didn't want to wait until I was 25 to begin an active life. I tried to join the police force, but they wouldn't let me in because I had already passed the first series of academic examinations. I wanted the responsibility. I felt that the police should be the most widely talented civil organisation that we have. It's the manner of recruitment that makes it less than that.
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Post by Deleted on Jun 8, 2010 12:37:35 GMT
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tullist
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Post by tullist on Jun 8, 2010 16:16:56 GMT
Just a tip of the hat to Tull for what, by todays standards, are very reasonable ticket prices, particularly for a foreign band. This is the same guy who I regularly see chastised for being money hungry. That would be the same guy who during the period of their greatest popularity was taxed at an absolutely absurd rate, for performers was it over 90 per cent? Merely for keeping his residency in Great Britain. Also liked the reference to a last tour in the Berlin piece, I am hardly assuming that, but I am aware of the calendar. For all the speculation, partly as the result of a highly dodgy You Tube video of SFTW in a different arrangement, as to whether IA and Tull should hang it up permanently, well, your day could be coming. Just knew when that Joe Bonamassa thing was posted many would mark it as a "return to form", because they want Ian from the seventies back. Little notice is given to the many, apparently morons, who have spoken glowingly of their experiences here and in the later European dates, or some of the great far more sonically representative videos that are posted, the worthwhile ones are indeed rare and often include more than a good picture. Re there are 3 different ones from one of the Italian dates, 2 filmed from up close with flat sound, one filmed from the rear with zoom with real good sound. I hold that one of Ian's closest musical relatives is the itinerant Scots/Irish harper Turloch O Carolan who continued til his death, composing one of his greatest pieces at this point, called Farewell to Music, I have a notion Ian will have a similar offering, Change of Horses will certainly do for now.
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Post by maddogfagin on Jun 8, 2010 18:00:09 GMT
Just a tip of the hat to Tull for what, by todays standards, are very reasonable ticket prices, particularly for a foreign band. This is the same guy who I regularly see chastised for being money hungry. That would be the same guy who during the period of their greatest popularity was taxed at an absolutely absurd rate, for performers was it over 90 per cent? Merely for keeping his residency in Great Britain. Also liked the reference to a last tour in the Berlin piece, I am hardly assuming that, but I am aware of the calendar. For all the speculation, partly as the result of a highly dodgy You Tube video of SFTW in a different arrangement, as to whether IA and Tull should hang it up permanently, well, your day could be coming. Just knew when that Joe Bonamassa thing was posted many would mark it as a "return to form", because they want Ian from the seventies back. Little notice is given to the many, apparently morons, who have spoken glowingly of their experiences here and in the later European dates, or some of the great far more sonically representative videos that are posted, the worthwhile ones are indeed rare and often include more than a good picture. Re there are 3 different ones from one of the Italian dates, 2 filmed from up close with flat sound, one filmed from the rear with zoom with real good sound. I hold that one of Ian's closest musical relatives is the itinerant Scots/Irish harper Turloch O Carolan who continued til his death, composing one of his greatest pieces at this point, called Farewell to Music, I have a notion Ian will have a similar offering, Change of Horses will certainly do for now.
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Post by nonrabbit on Jun 8, 2010 20:03:42 GMT
Just a tip of the hat to Tull for what, by todays standards, are very reasonable ticket prices, particularly for a foreign band. This is the same guy who I regularly see chastised for being money hungry. That would be the same guy who during the period of their greatest popularity was taxed at an absolutely absurd rate, for performers was it over 90 per cent? Merely for keeping his residency in Great Britain. Also liked the reference to a last tour in the Berlin piece, I am hardly assuming that, but I am aware of the calendar. For all the speculation, partly as the result of a highly dodgy You Tube video of SFTW in a different arrangement, as to whether IA and Tull should hang it up permanently, well, your day could be coming. Just knew when that Joe Bonamassa thing was posted many would mark it as a "return to form", because they want Ian from the seventies back. Little notice is given to the many, apparently morons, who have spoken glowingly of their experiences here and in the later European dates, or some of the great far more sonically representative videos that are posted, the worthwhile ones are indeed rare and often include more than a good picture. Re there are 3 different ones from one of the Italian dates, 2 filmed from up close with flat sound, one filmed from the rear with zoom with real good sound. I hold that one of Ian's closest musical relatives is the itinerant Scots/Irish harper Turloch O Carolan who continued til his death, composing one of his greatest pieces at this point, called Farewell to Music, I have a notion Ian will have a similar offering, Change of Horses will certainly do for now. great points and very well put love the comparison to O Carolan
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Post by Deleted on Jun 9, 2010 3:01:43 GMT
Ian Anderson of the British rock group Jethro Tull, shown performing in Switzerland in 2008, calls the dwindling revenue from albums “something of a tragedy,” especially for young artists. AP / URS FLUEELER www.projo.com/music/content/wk-pop10_06-10-10_2SIOG34_v11.51bb1cb.htmlThursday, June 10, 2010 With more than 40 years of songs to pick from, how the heck does Jethro Tull put together a set list that doesn’t stretch out for six hours? Frontman-flautist Ian Anderson says it takes research. The band keeps a record of what they play in which venues, and he searches the files to see what they played the last time they were in a certain country (sometimes even a certain city) and varying it. “Even between now and tonight,” he says over the phone from a tour stop, “I’ll have to go back and see what it is I played last time I was in Boca Raton and make sure there are not too many conflicts with most of the songs we intend to play on most of the tour.” Along with the usual standards such as “Aqualung,” “Locomotive Breath” and more, the show always includes “repertoire pieces from the deep catalog . . . making sure that it’s at least 60 percent, maybe 80 percent, different material to the previous occasion” along with at least a couple of new, unrecorded songs — all without making radical night-to-night changes that would be too hard an adjustment for the sound and light crews. And for the foreseeable future, the concerts are the best place to hear new Tull music. Asked whether any new recordings are in the works (the last new studio record was 2003’s Christmas album), Anderson is blunt: “We won’t get paid, so it’s a pretty low priority.” Musicians’ incomes from recording are about 5 percent of what they were before the digital age, Anderson estimates, and recording costs are high, especially for a band like Tull, whose members live in different parts of the world. It’s “a constant whittling away” of income, Anderson says. “It’s something of a tragedy — not really for an old face like me, who’s made a ton of money back when; it’s a tragedy for young artists who have to struggle.” He sees the new model as “a new song every couple of months that [fans] can download.” But until he gets that together, the stage is the place where the creativity happens. “That’s one of the key things about most of our career: we’ve always presented one or two things in a show that people can’t possibly have heard. It’s not to be confounding them or worrying them or presenting them with a pee break; it’s presenting them with the kind of challenge that we face, to renew our sense of energy and intellectual inquiry in making new music.” And while it’s often considered confusing to confront people with music they haven’t heard before in a live situation, Anderson thinks quite the opposite. “Certainly it’s better than sitting and listening to it with your iPod on a bus journey or the commuter train or your car with all the traffic noise and wind noise. . . . The ease with which you can have it with you at all times means that you’re hearing music a lot. But listening to it? Hardly at all.” Jethro Tull plays at the MGM Grand at Foxwoods Thursday night at 8. For tickets, call (866) 646-0609 or go to www.mgmatfoxwoods.com.
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Post by maddogfagin on Jun 9, 2010 17:54:11 GMT
It’s “a constant whittling away” of income, Anderson says. “It’s something of a tragedy — not really for an old face like me, who’s made a ton of money back when; it’s a tragedy for young artists who have to struggle.” He sees the new model as “a new song every couple of months that [fans] can download.” So there we have it in black and white (or white on blue) that IA's thinking about a possible new release at some time in whatever format(s) take his fancy. As another member posted some time ago and I'll paraphrase it by saying I can't understand IA's policy of having a recording studio in his home and not using it to produce a new album etc.
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Post by Deleted on Jun 10, 2010 4:19:59 GMT
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Post by nonrabbit on Jun 10, 2010 7:10:31 GMT
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Post by Deleted on Jun 10, 2010 21:05:47 GMT
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Post by maddogfagin on Jun 11, 2010 7:51:02 GMT
Cheers for posting these links Tootull Interesting quotes from the CMAC one: The future Anderson will probably do some more recording, but for now he’s focused on the live show. Part of that’s a function of the hourglass.
“As I get older, I’m quite often reminded of the fact that the clock is ticking,” he said. Eventually, touring won’t be feasible, so he’d better do it now.
“The temptation to respond to offers to do concerts at various parts of the world is very strong, rather than spend time in a dark recording studio making a conventional album. Especially because it’s going to sell bugger all!”
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