|
Post by maddogfagin on Jun 11, 2022 10:58:28 GMT
Currently still in hospital and using a borrowed laptop, windows 7
|
|
|
Post by maddogfagin on Jun 5, 2022 5:38:48 GMT
|
|
|
Post by maddogfagin on Jun 5, 2022 5:36:15 GMT
www.eonmusic.co.uk/jethro-tull-ian-anderson-eonmusic-interview-february-2020.htmlJETHRO TULL "A thing that most progressive rock musicians have in common is a low boredom threshold, and that defines essentially what progressive rock is about". - Ian Anderson. Things are never quiet in Ian Anderson's world, but of late he's been particularly busy, so busy in fact, that even the release of his long awaited next album has lapsed. "The reality is that yet again, I had January and February set aside for working to complete the new album, and that has just disappeared", he tells us as we sit down for a chat. Still, there's a new live production celebrating Jethro Tull's 'Prog Years' (of which there were many) to look forward to, as well as an intimate 'an evening with' set of events to look forward to. We caught up with the Prog God for a chat about what's going on in 2020. Minstrel in the gallery; Eamon O’Neill. Hi Ian, how are you today? I’m not entirely compos mentis this morning, having spent the last 72 hours in intense rehearsals with the band. We’re all a bit knackered. Is that for the forthcoming ‘The Prog Years’ shows? It is indeed. It’s running everything; the video, and all the cues with our lighting director. To a large extent, the members of the band, they all prepare everything beforehand; they all have the resources in terms of music references and descriptive things that I can provide everybody with, but when we all actually still need to come together, particularly when it’s involving a more production-oriented situation with synced video and so on. It becomes necessary to spend quite a bit of time doing that. Before that, you’ve got your more intimate ‘Ian Anderson on Jethro Tull’ shows happening. That’s what we were doing for the production tour in October in the UK, and then in April / May, it’s just a more intimate, theatre, Jethro Tull-oriented chat. There will be music performances, but that’s just me with my guitar player Joe [Parrish], who has yet to perform his first concert, a week on Friday. So you’re easing the new player in with these more laid back shows? Not really, now, because we start a week on Friday in Barcelona with the Jethro Tull production tour, so we have several places to visit before we do the more intimate q&a type shows. Between now and then we do a bunch of places that we will be able to continue to develop the show in. We’re in Spain, and then in Finland, and Italy and Poland and Russia, so we have lots of shows to do. Is that a different type of show again? Yes. There’s something about changing the format of the show, which happens about three or four times a year; it’s quite energising, because you find yourself really looking forward to the Christmas concerts, because you haven’t played that type of set for twelve months, and then it’s time to ease that material back in again, and it’s always a lot of fun knowing that you have something other than week upon week, month upon month, repetition of the same set list, which, in some ways provides its own blue blanket comfort zone, but then you have to meet the challenge of; “oh my god, I’ve a completely different show to play tomorrow night!” Going back to the theatre shows, and are you reprising the format of your 2002 / 2003 ‘Rubbing Elbows With’ American tour? That was very much based on the American TV talk show format, so I had guests and I interviewed people as well as it becoming a bit of dual banter with the co-presenter from local radio. So it had a format that was something that, at that time, wouldn’t have so easily translated into the UK, so I never did that kind of a show in the UK, or obviously for language reasons, any other country like mainland Europe. So, this is more interactive in the sense that there will be opportunities for members of the audience to take on the role of Andrew Neil pinning down the missing Boris Johnson! I’ll be Boris; you can take me to task, watch me squirm, and watch me try to wriggle out of it if it’s an embarrassing or hard question! But I think that’s fun for me, and fun for them. What else does the show have in store? Well, we’ll do a bit of that, and of course there’ll be lots of illustrations behind me on video of the early days of Jethro Tull and people I’ve worked with. It’s definitely a piece of entertainment for people who would consider themselves fairly knowledgeable fans of Jethro Tull. I haven’t got the set list in front of me, but there will probably be twelve or thirteen pieces of music that we’ll be playing during the evening with obviously a very stripped-down and edited format. But none the less, it’s really about giving the idea of how these songs came about; the song writing process, the elements of melody and harmony, and some of the instruments. So Joe and I will be playing lots of things; some of which will sound not too different to the original recorded version, or they’ll be a little bit more elementary in their context and arrangements. It’s for the Tull fans; it’s an intimate kind of a thing that probably will not be appealing to somebody that knows nothing about Jethro Tull. Have you any concerns at all that you’ll get questions that you don’t want to answer, or are you looking forward to seeing what comes up? Oh, I’m very much looking forward to it! You know, the worst thing that’s going to happen is someone’s going to ask me something, and I‘ll say; “oh, I can’t remember anything about that!” Or; “oh, that never happened”. They could be recipients of false information they’ve gleaned from the internet, and I will be quick to point out that while Mr. Google is an endless source of amusement and fun, as indeed is his second-cousin Mr. Wiki, we can’t always believe what we read. Have you found that in the past, that erroneous stories get repeated? Some things do get endlessly copied and pasted, and they’re based on some sort of folklore-ish or even scurrilous untruth in the first place. So when people ask me about my “feud” with Robert Plant, then they can expect a sharp retort, because there was never a feud between me and Robert Plant; it’s one of these absurd things that seems to come up. I had no idea that was even a thing! I remember meeting Robert Plant, and he said; “I hope we can put that behind us”, and I said; “what?”, and he said; “whatever it as we are supposed to be feuding about”, and I said; “exactly!” We never had a feud, because we didn’t really communicate. Led Zeppelin were Led Zeppelin; they were rock gods, and we were the humble support act. We rarely spoke, particularly to Robert, who was on a higher plane, as a vocalist, and as a person. Jimmy Page was a little bit more friendly, but Bonham, you steered a mile away from, because he was a raving nutcase! He was always polite enough to me, but I probably just saw him on a rare good mood. I think to some extent, the stories of Led Zeppelin being hell raisers who barged their way across America, there is an absolute element of truth about it, but probably wildly exaggerated. You were contemporaries of Led Zeppelin, none the less. Well, Led Zeppelin, like Jethro Tull began really, with a background in essentially, black American blues, but clearly it was in the song writing of Page and Plant, that it moved towards something that has every right to be called progressive rock. I don’t think it was a term usually applied to Zeppelin because they were in a world of their own, much of the time. But looking back at it, there’s a lot of their work – things like ‘Kashmir’ – things that are very clever, quite complicated progressive rock ideas, taking elements of rhythm and melody that were quite often deriving in influence-terms from other cultures, other music styles. And so Zeppelin had, rather like Jethro Tull after the first album anyway, a very eclectic mind of musical taste and musical influence. Both Jethro Tull and Led Zeppelin shared a love of Roy Harper, among other things. Of course, Roy Harper, amongst the various people that came across him back then; a couple of members of Zeppelin, a couple of members of Pink Floyd, and one member of Jethro Tull; we had an affinity with Roy, we played on his records or whatever, so yes, there was a bit of a symbiotic relationship there. I guess, it’s rather like Jimi Hendrix, if he were alive today, he would be the king of progressive rock, because that’s the only thing you could call his music. It didn’t perhaps go into the more scholarly or academic side of music in the way that perhaps Emmerson, Lake and Palmer or even Yes, in a way, but none the less it was still taking music away and beyond the thing that it began being in the era when rock music came out of; essentially black American blues and Jazz. In the days of early Elvis, rock music was something that essentially, was about three or four minute pop songs, simple stuff, but progressive is about taking ideas forward. Of course a lot of self-indulgent, anally-obsessive meandering went on, but you’ve got to take a few wrong paths in a maze in order to find your way successfully to the exit. I think that’s probably true of all of us. I think a thing that most progressive or prog rock musicians have in common is a low boredom threshold, and that defines essentially what progressive rock is about. We get bored with doing something that seems too much dependent on what went before. We want to try and move onwards and put our own stamp on the music; even if it’s more of a muddy footprint than a delicate imprint on the lunar surface. Jethro Tull had huge success when prog was at its height in the ‘70s, but a lot changed as the new decade arrived; did the band struggle to fit in? Well on the inside, we didn’t struggle at all. We were quite impassioned and moving to the next thing, but more or less in cheerful oblivion of what else was going on in the music, which was the ‘80s; it was synth-pop; it was Marc Almond; it was Gary Numan, and although I wasn’t enamoured with the music when it came about, I’ve since come around to the idea that this was another great decade of British music that exported itself around the world and showed the independence and the creativity of another generation of younger musicians. Marc Almond was a fan of Jethro Tull and progressive music. Marc has recently turned 60, and I was a guest at his concert at the Royal Festival Hall a couple of weeks ago; “I was 13 when I heard this song, ‘The Witches Promise” [mimicking a nervous Marc Almond talking to the audience], and he was so nervous about getting up and playing one of our songs! It was very endearing! You forget that music is passed on like a baton in a relay race, just as I, in some ways inherited the music of anything from Muddy Waters to Beethoven, so did people like Marc Almond inherit some of the early efforts of Jethro Tull. As indeed did the Sex Pistols did; Johnny Rotten was a bit of a fan of the ‘Aqualung’ album, not that of course he would have admitted to it at the time. If he had, then Malcolm McLaren would have probably fired him from the band for sullying their reputation and their public image! Finally, you’ve been hinting that new Ian Anderson music is forthcoming for the last year or so; have you any update on how that’s progressing? Well, this interview might have concluded with me saying; “yeah, I’ve just finished the last mixes of the new album!”, but the reality is that yet again, I had January and February set aside for working to complete the new album, and that has just disappeared, day after day with the various other things that can’t wait that I just have to get on with. I think that Christmas Day was my only day off! I’ve been working every day since about that time last year, and whilst I have some completed, finished mixed songs, I still have a few that need to be completed, and another five tracks to record, which are all written, and in a sense ready to roll and get on with. But it is finding the free days with my schedule to be able to do that. So, I can confidently predict that sometime in the next 10 years, this album will be released! [*laughing*] Can you give us a hint of what direction it’s taking? It’s another of those albums that is loosely defined as being ‘progressive rock’; it’s a thematic, conceptual album that has, I think, quite carefully considered lyrical references. But giving the game away saying; “well, this is what it’s about”, it rather takes the fun out of it for people who are going to look behind the lyrics and see what is the common thread. If I read novel or see a movie, I don’t want everything laid out in front of me; I want to be challenged a little bit and contemplate stuff and come up with my own considered evaluation; I don’t want it all presented on a plate. 2016 - 2020 eonmusic.co.uk
|
|
|
Post by maddogfagin on Jun 5, 2022 5:26:21 GMT
|
|
|
Post by maddogfagin on Jun 4, 2022 16:14:55 GMT
SWEET DREAM - JETHRO TULL
Jeffrey Hammond 163 subscribers
|
|
|
Post by maddogfagin on Jun 4, 2022 16:07:13 GMT
Po koncertach Jethro Tull w Polsce92 views June 1, 2022 Tullologia 6 subscribers Moje wrażenia z dopiero co minionych koncertów Jethro Tull w Bielsku-Białej (26.05.2022) i Warszawie (30.05.2022). Zapomniałem wspomnieć o Mirku z Krakowa/Wadowic oraz Andrzeju z Warszawy, z partnerką, którzy uczestniczyli w występie bielsko-bialskim. Serdecznie Was pozdrawiam!
|
|
|
Post by maddogfagin on Jun 4, 2022 15:50:36 GMT
|
|
|
Post by maddogfagin on Jun 4, 2022 7:38:17 GMT
|
|
|
Post by maddogfagin on Jun 4, 2022 7:22:59 GMT
|
|
|
Post by maddogfagin on Jun 4, 2022 5:38:34 GMT
|
|
|
Post by maddogfagin on Jun 4, 2022 5:31:58 GMT
From September 2019www.theday.com/article/20190915/ENT10/190919867Jethro Tull’s Ian Anderson speaks freely before Sun concertTravis LatamPublished September 15. 2019 12:01AM | Updated September 15. 2019 8:43AM By Rick Koster Day staff writer Who knows how many interviews Ian Anderson has done over the course of his half-century career? As the flute-brandishing front man, hyper-literate poet-in-residence and deftly complex structural architect of Jethro Tull, Anderson oversaw the creation of such genre-spanning and -spawning (and hugely-selling) progressive rock records like "Aqualung," "Thick as a Brick," "A Passion Play," "Heavy Horses," "Songs from the Wood," "A Minstrel in the Gallery," "Crest of a Knave" and many more. What question(s) could a journalist possibly ask that Anderson hasn't heard before? Particularly since multiple press phoners have been ongoing with the artist in preparation for the multi-date "Jethro Tull the 50th Anniversary Tour by Ian Anderson," which lands tonight in the Mohegan Sun Arena? Well, as one of rock's wittiest and most eloquent stars, Anderson has anticipated this problem. Publicists provide prospective interviewers with a comprehensive list of questions/answers that Anderson has already dealt with myriad times. This is indeed helpful and gives the writer advance opportunity to think of at least a few unharvested topics prior to the conversation. The current lineup, for example, includes guitarist Florian Opahle, drummer Scott Hammond, bassist David Goodier and keyboardist John O'Hara. On the appointed date in late August, the phone rings and, yes, that mellifluous baritone voice — far more John Barrymore than any Cockney Rock Dude — says, "Hi, this is Ian Anderson. Apologies for being (five minutes) late, but you're the last one of the day's schedule, so we have a few minutes ..." The problem is, as the writer finds out, Anderson doesn't really require questions anymore. He just starts ... talking. He speaks fast but in a pleasant tone of voice, and the filibuster begins in response to the journalist's polite "How are you doing, Ian?" "I'm fine," he assures. The journalist is hoping to immediately ask about the difficulty in choosing an anniversary tour setlist that representatively reflects the many stages of Tull's history — but Anderson is already expounding on health and, in general, the process of aging in society. He says, "I hate this idea that people are pushed, through cultural and economic pressure, to retire at 65. Older people have appreciably more to give in terms of productivity, and there's the issue of their dignity, as well. I'm 72 years old and still working and fortunate to be in a line of work that enables me to do that. If I was a British Airways pilot, I'd have been given my notice. It's strange. I think we can provide quite a bit of guidance and advice to younger people ..." Anderson has the well-reasoned logic of a veteran debater, as well as the inclination to pounce on a topic and wrestle it to the ground. The reporter is hopefully wondering how and if this line of thought might suddenly hopscotch into an explanation of Jethro Tull's incredibly creative and innovative approach to arena show staging. "Mr. Anderson," it would be fun to say, "what about the time you had a silent telephone on a footstool at the lip of the stage for the entire 'Passion Play' concert — something audience members couldn't ever quite NOT notice, which was of course the whole idea — and only, as you'd finished the encore and the house lights went up and people were getting up to leave, only THEN did the phone ring! Loudly over the PA. We were all frozen in shock. And you picked up the reciever, nodded your head and, leaning into the still-live vocal mic, extended the phone towards the crowd and said, 'It's for you!' Who came up with that?" Unfortunately, Anderson is now expressing hope that the younger generation will "manage our resources — planetary and food supply but also the forces of government because we have so many extremes today. There's Trumpism, of course, and now we have something equally calculated over here (with Boris Johnson): pushy, braggy and devoted to the creation of unnecessary divisions as a means to an end ... well, I have to be careful what I say about Trump or I won't get the visa for that leg of the tour. Same with Putin for when we tour Russia next year ..." With that, in much the same fashion that, onstage and performing complex compositions like "Velvet Green" or "Living in the Past," Anderson deftly segues between delivering polysyllabic lyrics and blasting into rabid-hare flute runes, the musician smoothly downshifts without a moment's break. "There IS one Republican I'd have liked to see as President; unfortunately, he died," Anderson says. "His name was Tony Snow. He was a press guy for both Bush administrations and much loved on both sides of the aisle, back when that was still possible. He was a dear friend and, like me, a flute player. That's how we met. He was a dyed-in-the-wool ideological Republican, which has become a very different thing, and he was utterly genuine and a humanitarian ... We argued a lot about a lot of things, but it was in a good spirited way with mutual respect and the sense that we both might learn something ..." The fact of the matter is that, while there have been no great truths or revelations about Jethro Tull in the "conversation," Anderson IS damned entertaining and intriguing to listen to. It occurs to the reporter than Anderson would have been an excellent teacher or even a politician, which, if just a few musical questions could be dispensed with, might be a fun avenue to pursue — — but while that thought is percolating, Anderson has somehow managed to seque onto the topic of religion and spirituality. Now, this is in fact something significantly related to many of the themes of both "A Passion Play" and "Aqualung" and other Tull recordings. Anderson is explaining that, while he adheres to the ethical and moral teachings of Christianity, he himself is not a quote/unquote believer. "I like the idea of not being sure — the mystery, if you will — and there's something very intriguing about not having the total faith but rather a fascination with the possibilty," Anderson says. "I might be a three or even a six in terms of belief — NOT a zero or ten, based on rather pragmatic signs and reality and research into spiritually, and speaking intelligently with people committed one way or another. In a lot of ways, (Jethro Tull's music) is a conduit to people who might not go into the doors of a church but are curious and want to consider the spiritual." Ah, that IS a bit of a musical allusion, and Anderson follows by explaining he's happy to do benefit concerts for certain of British cathedrals that are on the verge of bankruptcy. (Note: An early Tull album is called "Benefit," though Anderson has long dismissed it as being a remnant of the band's blues-riff origins a la Cream and not reflective of the identity they'd forge. Still, a connection is a connection.) "I've played two benefits because they're in tremendous trouble," Anderson elaborated. "And, though I don't have the Faith with a capital F, I'm happy to help pay the heating bills because I DO have a sneaking suspicion ..." Anderson, in fact, is active in a variety of charities and, as he speaks, alludes to a few including the Polyphony Foundation (helping young classical musicians); Shatil (an organization supporting a just, democratic and shared soceity in Israel); Population Matters (helping women across the globe make informed choices); and Scotland's Oak and Furrows Wildlife Fund. He's clearly passionate about all these things. Suddenly, out of nowhere, Anderson cheerily says, "Well, listen. Did you have a musical question before I go off to supper with my children and grandchildren?" There are several questions, if fact — the same ones as from the start of the interview. But it HAS been interesting. Somewhat randomly, Anderson is asked if there was a particular text of British folklore — "The Golden Bough," perhaps — that inspired the acoustic/medieval tones of the "Songs From the Wood," "Heavy Horses," "Stormwatch" trilogy. "Not really, nothing like that," Anderson says, and then somehow twists the answer to "A Passion Play," describing it as a "tongue-in-cheek look at the stereotypes of Good and Bad, and that we should be able to look at the concept of the afterlife with a bit of a smile on our faces, be it good OR bad ... That we should be pleased with where we are without worrying about trying for a speedy boarding pass to the beyond or VIP access at the Pearly Gates." He laughs. "I think I'll just amble up and say, 'Any chance for a room at the inn?' And St. Peter will say, 'Nope. No room right now.' And that's OK." As he's saying goodbye, Anderson does have a quick thought. "I hope you'll come to the show," he says. "We'll do a nice variety and have a fond, nostalgic look back — but we'll definitely set it in the culture of the day so as to appeal to a variety of generations."
|
|
|
Post by maddogfagin on Jun 3, 2022 16:00:27 GMT
|
|
|
Post by maddogfagin on Jun 3, 2022 15:55:32 GMT
|
|
|
Post by maddogfagin on Jun 3, 2022 5:40:19 GMT
|
|
|
Post by maddogfagin on Jun 2, 2022 14:27:27 GMT
www.recorder.com/Sounds-Local-column-46622796‘Jethro Tull still exists’: Tribute band Minstrels in the Gallery to debut Friday in Greenfield PHOTOS BY CAROL DEVINE By SHERYL HUNTER Published: 6/1/2022 4:13:19 PM Like many music fans growing up in the 1970s, local musician Chris Devine was a fan of the British progressive-rock band Jethro Tull. Combining English folk sounds with rock riffs and blues and classical influences, Jethro Tull, led by flute player Ian Anderson, had a totally unique sound. During their heyday Jethro Tull sold millions of albums and sold out worldwide tours. The band’s success can be attributed to Anderson, who in addition to being a talented musician and songwriter, was a dynamic showman known to take the stage wearing tights and a codpiece while playing the flute in his unique style as he hopped about on one foot. Today songs like “Aqualung” and “Locomotive Breath” get airplay on classic rock radio, but the Tull’s popularity has not endured in the way that other 70s bands like Led Zeppelin and Pink Floyd have. But Devine is about to do his part to correct this situation and bring the music of Jethro Tull back to the forefront. Devine, a Sunderland resident, recently formed a Jethro Tull tribute band called Minstrels in the Gallery (named from the 1975 Tull album), and they will be making their debut at Hawks and Reed Performing Arts Center in Greenfield on Friday, June 3, at 8 p.m. John Cantalini, a virtuoso acoustic and electric guitarist and singer from the Springfield area, will open the show. A talented multi-instrumentalist and composer, Devine is well known on the local music scene. Some of you may remember him for his work as Dr. Devine in the comedy-rock act The Bobby Darling Show, or from his longtime partnership with Greenfield guitarist and banjoist Michael Nix in both the Devine-Nix Duo and the Pioneer Consort. Devine also recently worked with Celtic harpist and songwriter Rosemary Caine. Devine has also performed as a classical violinist and violist in orchestras, quartets, and recitals. At the same time he has been playing in various rock bands including touring the globe in 2000-2002 as a featured soloist in Richie Blackmore’s band Blackmore’s Night. Devine also has a long history working as an actor, including performing in the recent Greenfield Community College theatrical production of “The Elephant Man.” It’s clear that Chris Devine is busy with a variety of projects, so why would he want to form a Jethro Tull tribute band at this point in time? “It’s been something that I have been tossing around for awhile,” he said in a recent phone interview. “The bass player, Bill Nolan, and I had a prog-rock band back in the mid-80s and as part of that we did a fairly protracted Jethro Tull set. I recently reconnected with Bill and we started talking about doing this again.” The talk become action when Nolan said he was willing to travel from his home base in Quincy to western Massachusetts to be part of such a band. “I realized that I’m not going to be in better shape in three years from now so if I’m going to do this, let’s do it now,” said Devine. Devine was fortunate to find a group of musicians he said were talented enough (and crazy enough) to join him in this ambitious project of playing the music of Jethro Tull. Minstrels in the Gallery consist of drummer Joe “Jopey” Fitzpatrick (the Gaslight Tinkers, Big Yellow Taxi, etc,) on drums, James Robinson (Trailer Park) on guitar, as well as jazz and classical pianist Ken Forfeia. They will join Nolan on bass and Devine who will be playing flute, acoustic and electric guitar, mandolin, violin, alto sax and violin. The material they are going to play draws from Tull’s most popular period, 1968-1976, and will feature the songs that were considered hits — songs such as “Bungle in the Jungle” “Skating Away,” and more. The group also will tackle a 12-minute segment of material off the bands classically inspired concept album “Thick as a Brick” which was essentially one song divided over two sides of an LP. The music of Jethro Tull is not your run-of-the-mill group of classic-rock songs — and not at all that easy to play. “Some of it is really simple and some of it is quite complicated, and the sophistication and the writing is what drew me to it,” said Devine. “Even as a teenager when I wasn’t as musically sophisticated, I could tell there was a lot going on there.” These musicians are currently working hard to learn this material which raises the question: is there a future for Minstrels in the Gallery? “I hope to keep this together,” Devine said of the Minstrels. “There is a whole industry of tribute bands and agencies that specialize in them, so I might contact one of those agencies. There are a plethora of Pink Floyd and Led Zeppelin bands out there, and not a lot doing Tull. The difference with this band, as compared to those others, is that Jethro Tull still exists.” Devine pointed out that Anderson, who once duetted with local astronaut Cady Coleman as she was on the International Space Station in 2011, is still touring with Jethro Tull and recently released an album called “The Zealot Gene.” Richie Blackmore once arranged for Devine to meet Anderson after a show, but at the last minute it didn’t work out. However, Devine did get the chance to exchange a few friendly emails with Anderson although he is not sure what the Jethro Tull leader would think of a tribute band and hopes it’s something he would support. The day prior to our conversation, Devine and the band had completed an extensive rehearsal and he came away feeling positive that the band were nailing the material. He said that he was enjoying playing this music that he loved as a youth and that influenced his formative years as a musician. He and the band look forward to playing this show and bringing this music to old fans and hopefully to some listeners who are new to Jethro Tull. “This music certainly draws on a certain demographic, shall we say,” Devine said. “There are a lot of kids that groove on Led Zeppelin that don’t even know who Jethro Tull is. I’ve certainly got some younger people coming to the show and I’m hoping to be a bit of an ambassador for this great music. Advance tickets are available at hawksandreed.com or at the door.
|
|
|
Post by maddogfagin on Jun 2, 2022 14:19:47 GMT
Special thanks to Lukas Was !!!! Jethro Tull - Aqualung ( Live In Warsaw 30. 05. 2022 ) Thank you Lukas Was: a long time member of the Forum and what I can only describe as an uber fan - cheers my friend.
|
|
|
Post by maddogfagin on Jun 2, 2022 5:43:25 GMT
|
|
|
Post by maddogfagin on Jun 2, 2022 5:41:10 GMT
|
|
|
Post by maddogfagin on Jun 2, 2022 5:35:12 GMT
Jethro Tull - Dambusters March, live at Konserthuset, Gothenburg, Sweden 220522 10 views June 1, 2022
Frecko C Jethro Tull - Dambusters March, live at Konserthuset, Gothenburg, Sweden 220522
|
|
|
Post by maddogfagin on Jun 1, 2022 16:10:25 GMT
|
|
|
Post by maddogfagin on Jun 1, 2022 15:57:00 GMT
|
|
|
Post by maddogfagin on Jun 1, 2022 15:52:04 GMT
I've just been to the Marillion Weekend in Leicester, England, where the band played at the De Montfort Hall for three nights, Friday-Sunday. The first night was a collection of numbers, the Saturday was the new album plus other stuff, the last night, Sunday was the older album Seasons End, plus others. It was an amazing weekend, with Marillion cover bands playing pub gigs in the town centre and everywhere the fans were so friendly, a great atmosphere was everywhere. The De Montfort Hall is a fantastic venue, Tull played there recently too. I just wondered which three Tull albums would you pick for a Tull Weekend? It's a shame Ian's voice couldn't handle many of their amazing back catalogue, and so we have missed the boat for this, but feel that with the amount of quality albums Tull have released since 1968 there would be many, many combinations that could have happened..... For the first "Tull Weekend", I would pick Stand Up (Friday), Benefit(Saturday), and Aqualung(Sunday)...wow, what a weekend that would be to kick off Everyone has their favourite albums, so there will be many many combinations This Was [friday], Thick as a Brick [saturday] and Broadword [sunday]
|
|
|
Post by maddogfagin on Jun 1, 2022 5:46:34 GMT
Jethro Tull Live In San Diego, CA, USA 19/09/1993 Full DVD Remy Tena 26.3K subscribers Comments:1st gen VHS tape from the taper.The first 10 minutes have head obstructions,but be patient, the filmer gets some real good shots of Ian Anderson and the band.Great color and sound,too. Jethro Tull Anphitheater San Diego State University Sept.19,1993 Approx 105 mins. Source:audience The last minute or so is audio only. Song List:
My Sunday Feeling For A Thousand Mothers Living In The Past Bouree So Much Trouble With You There To Help Me In The Grip Of Stronger Stuff The Whistler instrumental Thick As A Brick Sossity You're A Woman / Reasons For Waiting instrumental Songs From The Wood/Too Old To Rock'N'Roll/Heavy Horses medley Budapest Andy's Parrot -Instrumental Passion Jig/ Seal Driver instrumental A New Day Yesterday Aqualung Locomotive Breath Cross-Eyed Mary Dharma For One
|
|
|
Post by maddogfagin on Jun 1, 2022 5:34:01 GMT
|
|
|
Post by maddogfagin on May 31, 2022 16:13:48 GMT
|
|
|
Post by maddogfagin on May 31, 2022 16:05:24 GMT
|
|
|
Post by maddogfagin on May 31, 2022 11:11:12 GMT
I felt pretty rotten this morning [my legal medications really helped ] but this did raise a chuckle . . . . .
|
|
|
Post by maddogfagin on May 31, 2022 5:44:39 GMT
|
|
|
Post by maddogfagin on May 31, 2022 5:35:34 GMT
Jethro Tull - Lights Out 475 views May 8, 2022
EPITOPOU MAPS 296 subscribers
#jethrotull #iananderson #epitopoumaps There is a place at Ano Patisia neighborhood called "Ktima Drakopoulou", close to the borders of the municipality of Athens. It used to be the property of this Drakopoulos and now it's a park. The ruins of the houses remained, some other are demolished. In the night this place seemed mysterious in my eyes and without much light, that's why I combined with this song. Hope you like the atmosphere in this video.
Lyrics: Last light's out They're all at bed And something's in my room Creeping down towards me on the wall
Daddy said it's just some flickering headlight through the gloom Making shapes through trees outside the hall
But what the hell does he know? He doesn't feel the dread The cold restricting terror in the dark
I've seen that silhouette before Something the newsman said Something about some monster in the park
[Chorus:] It's you, you're the man on the TV screen It's you front page face of the dead Locked up in the light of day At night come out to play To terrorize me there above my bed
The air is still and heavy now There's thunder in the sky He's dreaming up some message he can send
I'm scared completely helpless and I think I'm going to cry Are grownups brave or do they just pretend?
His face is growing clearer I can see his eyes glow red My teddy bear's the only friend I can feel
The shadow's hand slips down the wall And touches teddy's head I now suspect that shadow will touch me
[Chorus]
[Repeat chorus]
It's you...
|
|
|
Post by maddogfagin on May 30, 2022 16:26:00 GMT
Martin Barre Band - My God - Tupelo Music Hall, Derry, New Hampshire 05 02 22
|
|