Jethro Tull



Jethro Tull

Postby N2yes » Mon Sep 03, 2007 5:55 pm

Ian Anderson.....that almost says it all doesn't it?
Jethro Tull are a Grammy Award winning English rock band that formed in 1967-1968. Their music was and in many ways, still is, marked by the distinctive vocal style and lead flute work of said front man Ian Anderson. Initially playing blues rock with an experimental flavor, they have, over the years, incorporated elements of classical, folk and 'ethnic' musics, jazz and art rock. Eclectic influences, diverse instrumentation, and often complex song construction led them to be labelled as an archetypal "progressive rock" band. Contrary to popular belief, Jethro Tull was not the name of a famous flautist, instead, they took the name from a friend who, being an historian, seemed to be taken with an 18th-century agriculturist who invented the seed drill by the name of Jethro Tull.

The Beginnings

Ian Anderson's first band, started in 1963 in Blackpool, was known as The Blades. It had developed by 1966 into a seven-piece white soul band called the John Evan Band (later the John Evan Smash), named for pianist/drummer John Evans, who dropped the final "s" from his name to make it sound less ordinary. At this point, Barrie Barlow was the band's drummer, as he would later be for Tull itself.

The band moved to the London area in search of more bookings, basing themselves in nearby Luton. However, money remained short and within days of the move most of the band quit and headed back North, leaving Anderson and bassist Glenn Cornick to join forces with blues guitarist Mick Abrahams and his friend, drummer Clive Bunker, both from the Luton-based band "McGregor's Engine". At first, the new band had trouble getting repeat bookings and they took to changing their name frequently to continue playing the London club circuit. The by-now chosen name of Jethro Tull stuck simply by virtue of the fact that they were using it the first time a club manager (namely, John Gee of the Marquee Club, London) liked their show enough to invite them to return. They were signed to the blossoming Ellis-Wright agency, and became the third band managed by the soon-to-be Chrysalis musical empire.

After an unsuccessful single produced by Derek Lawrence (an Abrahams-penned pop tune called "Sunshine Day" on which the band's name was misspelled "Jethro Toe", making it a collector's item), they released the bluesy album This Was in 1968. In addition to music written by Anderson and Abrahams the album included the traditional "Cat's Squirrel", which highlighted Abraham's blues-rock style. The Rahsaan Roland Kirk-penned jazz piece "Serenade to a Cuckoo" gave Anderson a showcase for his growing talents on the flute, an instrument which he started learning to play only half a year before the release of the album. The overall sound of the group at this time was described in the Record Mirror by Anderson in 1968 as "a sort of progressive blues with a bit of jazz"[3].

Following this album, Abrahams left, forming his own band, Blodwyn Pig. There were a number of reasons for his departure: he was a blues purist, while Anderson wanted to branch out into other forms of music, Abrahams and Cornick did not get along, and Abrahams was unwilling to travel internationally or play more than three nights a week, while the others wanted to be successful by playing as often as possible and building an international fan base.

An interesting tid-bit included the little-known fact that Earth/Black Sabbath guitarist Tony Iommi took on guitar duties for a short time after the departure of Abrahams ( now there's a surprise fer ya ), appearing in The Rolling Stones Rock and Roll Circus (in which the group mimed "A Song For Jeffrey") in 1968, but returned to Earth/Black Sabbath after the performance.

Destiny Overcomes Nervousness

After auditions for a replacement guitarist, Anderson chose Martin Barre, a former member of Motivation, Penny Peeps, and Gethsemane, who was playing with Noel Redding's Fat Mattress at the time. Barre impressed Anderson with his persistence more than anything else: he was so nervous at his first audition that he could hardly play at all, and then showed up for a second audition without a cable to connect his guitar to an amplifier. Nevertheless, Barre would become Abrahams' permanent replacement on guitar and the second longest-standing member of the band after Anderson.

This new line-up released STAND UP in 1969, the band's only UK number-one album. Written entirely by Anderson — with the exception of the jazzy rearrangement of J. S. Bach's Bourée, it branched out further from the blues, clearly evidencing a new direction for the group, which would come to be categorised as progressive rock alongside such diverse groups as King Crimson, Genesis, The Nice and Yes. The "Living in the Past" single of the same year reached number three in the UK chart, and though most other progressive groups actively resisted issuing singles at the time, Tull had further success with their other singles, "Sweet Dream" (1969) and "The Witch's Promise" (1970), and a five-track EP, Life Is a Long Song (1971), all of which made the top twenty. In 1970, they added keyboardist John Evan (initially as a guest musician) and released the album BENEFIT.

Bassist Cornick left following Benefit, replaced by Jeffrey Hammond, a childhood friend of Anderson whose name appeared in the songs "A Song for Jeffrey", "Jeffrey Goes to Leicester Square", "For Michael Collins, Jeffrey, and Me", and who also is the writer and narrator of "The Story of the Hare Who Lost His Spectacles" featured in the A Passion Play album. Jeffrey was often credited on Tull albums as "Jeffrey Hammond-Hammond", but the extra "Hammond" was an inside joke regarding the fact that Hammond's mother's maiden name was also "Hammond", no relation to his father.

This line-up released Tull's best-known work, AQUALUNG in 1971. On this album, Anderson's writing voiced strong opinions about religion and society. The title character of Aqualung is a disreputable tramp, wandering the streets and "eyeing little girls with bad intent"; the focus of the song "Cross-Eyed Mary" is an underage prostitute. "My God" - written before BENEFIT and already a staple of the band's live act before Aqualung's release[4] - is a full-frontal assault on ecclesiastic excesses: "People what have you done/locked Him in His golden cage/Made Him bend to your religion/Him resurrected from the grave..." In contrast, the gentle acoustic "Wond'ring Aloud" is a love song. The title track and "Locomotive Breath" remain staples of US classic rock stations to this very day.


THICK as a BRICK concept album.

Because of the heavy touring schedule and his wish to spend more time with his family, drummer Bunker left the band after the Aqualung album, and was replaced by Barriemore Barlow in early 1971. Barlow first recorded with the band for the EP Life Is a Long Song and made his first appearance on a Jethro Tull album with 1972's THICK as a BRICK. This was conceived as a concept album consisting of a single track running 43:28 (an innovation previously unheard of in rock music[5]), split over the two sides of the LP, with a number of movements somewhat 'merged' together with some repeating themes. The first movement with its distinctive acoustic guitar riff received some airplay on rock stations at the time (and occasionally turns up in modern classic-rock programming as a "deep" or "rare" cut). THICK as a BRICK was the first true progrock offering by the band, as well as the first Jethro Tull album to reach number one on the (U.S.) Billboard Pop Albums chart (the following year's A PASSION PLAY being the only other). This album's quintet – Anderson, Barre, Evan, Hammond, and Barlow – endured until the end of 1975.

1972 also saw the release of LIVING in the PAST, a double-album compilation of remixed singles, B-sides and outtakes (including the entirety of the Life Is a Long Song EP, which closes the album), with a single side recorded live in 1970 at New York's Carnegie Hall. Fans regard the album as arguably the band's best compilation. The title track remains one of their more enduring singles, though Anderson reportedly wrote it in 5/4 time with the intent of preventing its ascent to the pop charts.

In 1973, the band attempted to record a double album in tax exile at Château d'Hérouville studios (something the Rolling Stones and Elton John among others were doing at the time), but supposedly they were unhappy with the quality of the recording studio and abandoned the effort. Subsequently mocking the studio as the "Chateau d'Isaster." (An 11-minute excerpt from these recordings was released on the 1988 20 Years of Jethro Tull boxed set, and the complete sessions were finally released on the 1993 compilation NIGHTCAP, with the contemporarily overdubbed flute lines where the vocal parts were missing.) Instead they quickly recorded and released A PASSION PLAY, another single-track concept album, and their second pure prog release, with very allegorical lyrics directed at the mysteries of the afterlife. A PASSION PLAY continued the diverse instrumentation introduced in THICK as a BRICK, and added saxophones to the mix. A PASSION PLAY sold well but received generally poor reviews, including a particularly damning review of its live performance by Chris Welch of Melody Maker. That name should strike you as oddly familiar.

Around this time, the band's popularity with critics began to wane, but their popularity with the public remained strong. 1974's WAR CHILD, an album originally intended to be a companion piece for a film, reached number two on the Billboard charts and received some critical acclaim, and produced the radio mainstays "Bungle in the Jungle" and "Skating Away (On the Thin Ice of the New Day)". It also included a song, "Only Solitaire", allegedly aimed at L.A. Times rock music critic Robert Hilburn, who was one of Anderson's harsher critics.

In 1975, the band released MINSTREL in the GALLERY, an album which resembled AQUALUNG in that it contrasted softer, acoustic guitar-based pieces with lengthier, more bombastic works headlined by Barre's electric guitar. Written and recorded during Anderson's divorce from his first wife Jenny, the album is characterised by introspective, cynical, and sometimes bitter lyrics. Critics gave it mixed reviews, but the album came to be acknowledged as one of the band's best by longtime Tull fans, even as it generally fell under the radar to listeners familiar only with Aqualung. Following this album, bassist Hammond left the band, retiring from music altogether to pursue painting (which had always been his intention). John Glascock, who earlier was playing with flamenco-rock band Carmen, a support band on the previous Jethro Tull tour, was tabbed as the band's new bassist.

1976's TOO OLD to ROCK and ROLL: TOO YOUNG to DIE! was another concept album, this time about the life of an aging rocker. Anderson, stung by critical reviews (particularly of A Passion Play), responded with more sharply-barbed lyrics. The press seemed oblivious to the ploy, and instead asked if the title track was autobiographical — a charge Anderson hotly denied. Curiously, the sleeve for the album featured a comic strip with a lead character (Ray Lomas) that looked very similar to Anderson.

1977–1979: Folk rock trilogy

The band closed the decade with a trio of folk rock albums, Songs FROM the WOOD, HEAVY HORSES and STORMWATCH. SONGS FROM the WOOD was the first Tull album to receive unanimously positive reviews since the release of BENEFIT and LIVING in the PAST.
Interestingly, the band had long had ties to folk rockers Steeleye Span. Although not formally considered a part of the folk rock movement (which had actually begun nearly a decade earlier with the advent of Fairport Convention), there was clearly an exchange of musical ideas among Tull and the folk rockers. Also, by this time Anderson had moved to a farm in the countryside, and his new bucolic lifestyle is clearly reflected on these albums. A stellar example is the title track of HEAVY HORSES, a paean to draught horses.

The band continued to tour, and released a live double album in 1978. Entitled BURSTING OUT, it featured dynamic live performances from the lineup that many Tull fans consider comprising the golden era of the band. It also features Anderson's often-ribald stage banter with the audience and band members. ("David's gone for a piss. Ah, he's back. Did you give it a good shake?") The vinyl LP contains three tracks not found on the initial U.S. single-disc CD edition: Martin Barre's guitar solo tracks "Quatrain" and "Conundrum" (which had an extended drum solo from drummer Barriemore Barlow) and a version of the 1969 UK single hit, "Sweet Dream". (These tracks were included on the original two-CD U.K. edition, and were restored in a globally released re-mastered two-CD edition released in 2004.) During the USA tour, because of health problems, John Glascock was replaced by Anderson's friend and former Stealers Wheel bassist Tony Williams.

During this time, David Palmer (now known as Dee Palmer), who had long been the band's orchestra arranger, formally joined the band on keyboards. Bassist Glascock died in 1979 following heart surgery and Stormwatch was completed without him (Anderson contributed bass on most tracks). The following tour featured Dave Pegg of Fairport Convention on bass guitar. After this tour, Anderson decided to record his first solo album.

Evolution of live shows during the 1970s

During the early 1970s Tull went from a progressive blues band to one of the largest concert draws in the world. In concert, the band was known for theatricality and long medleys with brief instrumental interludes. While early Tull shows featured a manic Anderson with bushy hair and beard dressed in tattered overcoats and ragged clothes, as the band became bigger he moved towards varied costumes. This culminated with the War Child tour's oversized codpiece and colorful costume.

Other band-members joined in the dress-up and developed stage personae. Bassist Glenn Cornick always appeared in vest and headband; his successor Jeffrey Hammond eventually adopted a black and white diagonally striped suit (and similarly striped bass guitar, electric guitar, and string bass, it was a Zebra look and at one point a two manned Zebra came out and excreted ping pong balls into the audience; both performed while moving forcefully around their stage areas. John Evan dressed in an all-white suit with a neck-scarf of scarlet with white polka-dots; described as a "sad clown" type with extremely oversized shoes, he joined in the theatrics by galumphing back and forth between Hammond Organ and grand piano (placed on opposite sides of the stage in the THICK as a BRICK tour) or by such sight-gags as pulling out a flask and pretending to drink from it during a rest in the music. Barriemore Barlow's stage attire was a crimson tank-top and matching runner's shorts with rugby footgear, and his solos were marked by smoke-machines and enormous drumsticks. Martin Barre was the island of calm amongst the madmen, with Anderson (and sometimes Evan) crowding him and making faces during his solos.

The band's stage theatrics peaked during the THICK as a BRICK tour, a performance distinguished by stage hands wearing the tan trench-coat/madras cap ensemble from the album art, extras in rabbit suits running across stage and an extended interlude during which Barre and Barlow entered a beach-tent onstage and swapped pants.

A PASSION PLAY was planned to have a full-length film to go with the stage theatrics; of this effort, it seems that only a few excerpts have survived to be re-released on recent commemorative videos of the band, including the interlude "The Story of the Hare Who Lost His Spectacles."

A similar multi-media effort had been planned for Too Old To Rock and Roll... but was not completed. Thereafter, the emphasis on theatrics was reduced but never eliminated-- In 1982's BROADSWORD and the BEAST concerts, the entire stage was transformed into a viking ship. Anderson often dressed as a country squire on tours in the late 1970s, with the rest of the band adopting the style during their folk phase. The A tour featured the same white jumpsuit uniforms worn by the band on the album cover. Certain routines from the 1970s become ensconced in concerts, such as having a song interrupted by a phone call for an audience member (which Anderson took on a cell) and the climactic conclusion of shows included bombastic instrumentals and the giant balloons which Anderson would carry over his head and toss into the crowd.


Tull's first album of the 1980s, A, was originally intended to be Ian Anderson's first solo album. Anderson retained Barre on electric guitar, and added Dave Pegg (Fairport Convention) on bass, Mark Craney on drums, and special guest keyboardist/violinist Eddie Jobson (ex-Roxy Music, UK, Frank Zappa). Highlighted by the prominent use of synthesisers, it contrasted sharply with the established "Tull sound". After pressure from Chrysalis Records, Anderson decided to release it as a Jethro Tull album. Entitled A (taken from the labels on the master tapes for his scrapped solo album, marked simply "A for Anderson"), it was released in mid-1980.

In keeping with the mood of innovation surrounding the album, Tull made an early foray into the emerging genre of music video with Slipstream, a film which takes place at London's Hammersmith Odeon (which was used for exterior scenes). However, the main concert footage was actually from an American performance in Los Angeles, California at the Los Angeles Sports Arena (as heard on the Magic Piper ROIO) featuring the A lineup filmed in November of 1980. The video was directed by David Mallet, who has directed numerous music videos including the pioneering "Ashes to Ashes" video for David Bowie. The electronic style of the album was even more pronounced in these live performances and was used to striking effect on some of the older songs, including "Locomotive Breath". The more familiar Tull sound was brought to the fore in an all acoustic version of "Skating Away on the Thin Ice of the New Day" featuring Pegg on mandolin. "Slipstream", long a rarity on VHS, was included as a bonus DVD with the 2004 remastered edition of the A album.

Jobson and Craney departed following the A tour and Tull entered a period of revolving drummers: Gerry Conway, Phil Collins (who played with the band at the first Prince's Trust concert in 1982 as a fill-in drummer for the then recent departed Gerry Conway), Paul Burgess (for the US leg of the Broadsword and the Beast tour), and Doane Perry. The year of 1981 was the first year in their album career that the band did not release an album; however some recording sessions took place (Anderson, Barre, Pegg, and Conway, with Anderson playing the keyboards). Some of these tracks were released on the Nightcap compilation in 1993. In 1982, Peter-John Vettese joined on keyboards, and the band returned to a somewhat folkier sound – albeit with synthesisers – for 1982's Broadsword and the Beast. The ensuing concert tour for the album was well-attended and the shows featured what was to be one of the group's last indulgences in full dress theatricality: the stage was built to resemble a Viking longship and the band performed in traditional medieval regalia.

An Anderson solo album (which was in fact an Anderson-Vettese effort) appeared in 1983, in the form of the heavily electronic Walk into Light. Although the album featured electronic soundscapes and synthesiser voicings advanced for its time, as well as cerebral lyrics about the alienating effects of technology, the release failed to resonate with longtime fans or with new listeners. However, as with later solo efforts by Anderson and Barre, some of the Walk Into Light songs, such as "Fly By Night", "Made in England" and "Different Germany", later made their way into Tull live sets.

In 1984, Tull released UNDER WRAPS, a heavily electronic album with no "live" drummer (instead, as on Walk into Light, a drum-machine was used). Although the band was reportedly proud of the sound, the album was not well-received, particularly in North America. However, the video for "Lap of Luxury" did manage to earn moderate rotation on the newly influential MTV music video channel. Also, the acoustic version of the title track, Under Wraps 2, found some favor over the years and a live instrumental version of the song was included on the "A Little Light Music" concert CD of 1992. Some longtime Tull fans regard UNDER WRAPS as one of the band's weaker efforts; however, Martin Barre considers it his favorite. As a result of throat problems Anderson developed singing the demanding UNDER WRAPS material on tour, Tull took a three-year break, during which Anderson continued to oversee his salmon farm which he founded in 1978.

Tull returned strongly with 1987's CREST of a KNAVE. With Vettese absent (Anderson contributed the synth programming) and the band relying more heavily on Barre's electric guitar than they had since the early 1970s, the album was demed a critical and commercial success. Shades of their earlier electronic excursions were still present, however, as three of the album's songs again utilized a drum machine. The band won the 1989 Grammy Award for Best Hard Rock/Metal Performance, beating the favorite Metallica and their ...AND JUSTICE FOR ALL album. The award was particularly controversial as many did not consider Jethro Tull hard rock, much less heavy metal. Under advisement from their manager, who told them they had no chance of winning, no one from the band turned up to the award ceremony. In response to the criticism they received over the award, the band then took out an advert in a British music periodical with a picture of a flute lying amid a pile of iron re-bars and the line, "THE FLUTE IS A HEAVY METAL INSTRUMENT." In 2007, the win was named one of the ten biggest upsets in Grammy history by Entertainment Weekly (In 1992, when Metallica finally won the Grammy in the category, Metallica drummer Lars Ulrich joked, "First thing we're going to do is thank Jethro Tull for not putting out an album this year.").

The style of Crest has been compared to the likes of Dire Straits, in part because Anderson no longer seemed to have the vocal range he once possessed. The album contains the popular live song "Budapest", which depicts a backstage scene with a shy local female stagehand. Although "Budapest" was the longest song on that album (longer than ten minutes), "Mountain Men" became more famous throughout Europe, depicting a scene from World War II in Africa. Ian Anderson referred to the battles of El Alamain and the Falkland Islands, drawing historic parallels of the angst that women left behind by their warrior husbands might feel.

1988 was notable for the release of 20 YEARS of JETHRO TULL, a five-LP themed set (also released as an unthemed three-CD set, and as a truncated single CD version on 20 Years of Jethro Tull: Highlights) consisting largely of rarities and outtakes from throughout the band's history as well as a variety of live and remastered tracks. It also included a booklet outlining the band's history in detail. Now out of print, it has become a collector's item, although many (but not all) of the outtakes have been included as bonus tracks on the remasters of the band's studio albums.

Multi-instrumentalist Martin (Maart) Allcock, who as a member of Fairport Convention had played with Tull at Cropredy the previous year, joined the band mainly as keyboard player, starting with the 20th Anniversary tour.

In 1989, the band released ROCK ISLAND, which met with less commercial and critical success than Crest of a Knave. The lead-off track, "Kissing Willie," featured bawdy double entendre lyrics and over the top heavy metal riffing that seemed to take a satiric view of the group's recent Grammy award win. The song's accompanying video found difficulty in receiving rotation because of its sexual imagery. Although Rock Island was something of a miss for the group, a couple of fan favorites did emerge from the album. "Big Riff and Mando" reflects life on the road for the relentlessly touring musicians, giving a wry account of the theft of Barre's prized mandolin by a stage-struck fan. "Another Christmas Song", an upbeat number celebrating the humanitarian spirit of the holiday season, stood out against the brooding and sombre mood of many of the songs on the album and was well-received at concerts. It was re-recorded for the 2003 Jethro Tull Christmas Album release.

1991's CATFISH RISING was a more solid album than ROCK ISLAND. Despite being labelled as a "return to playing the blues," the album actually is marked by the generous use of mandolin and acoustic guitar and much less use of keyboards than any Tull album of the Eighties. Notable tracks included "Rocks on the Road", which highlighted gritty acoustic guitar work and hard-bitting lyrics about urban life and "Still Loving You Tonight", a bluesy low-key ballad.

Allcock, who had played on the Catfish Rising tour although not the album itself, left the band at the end of the year.

In 1992, the band embarked on a tour with a slightly different approach which consisted of lighter, more acoustic-based numbers called, rather appropriately, A LITTLE LIGHT MUSIC. It was well received by the fanbase and Anderson made the decision to continue touring mixing things up a bit with both this new style and heavier, older numbers calling it the LIGHT and DARK Tour. Anderson had, by this time, regained his vocal strength and it was regarded by some has never having sounded so good.
After the 1992 tour, Anderson had re-learned how to play the flute, and begun writing songs that heavily featured world music influences. Dave Pegg also left the band at this time to concentrate on his work with Fairport Convention; his replacement was Jonathan Noyce. 1995's Roots to Branches and 1999's J-Tull Dot Com are less rock-based than Crest of a Knave or Catfish Rising. These most recent original Tull efforts reflect the musical influences of decades of performing all around the globe. In songs such as "Out of the Noise" and "Hot Mango Flush", Anderson paints vivid pictures of third-world street scenes. These albums have reflected Anderson's coming to grips with being an old rocker, with songs such as the pensive "Another Harry's Bar", "Wicked Windows" (a meditation on reading glasses), and the gruff "Wounded, Old, and Treacherous".

In 1995, Anderson released his second solo album, DIINITIES: TWELVE DANCES WITH GOD, an instrumental work comprised of twelve flute-heavy pieces pursuing varied themes with an underlying motif. The album was recorded with keyboard player Andrew Giddings. Anderson released two further song-based solo albums, The SECRET LANGUAGE of BIRDS and RUPI's DANCE in 2000 and 2003, respectively.


2003 saw the release of The JETHRO TULL CHRISTMAS ALBUM, a collection of traditional Christmas songs together with old and new Christmas songs written by Jethro Tull.

An Ian Anderson live double album and DVD was released in 2005 called Ian ANDERSON PLAYS the ORCHESTRAL JETHRO TULL. In addition, a DVD entitled NOTHING IS EASY: Live at the Isle of Wight 1970 and a live album AUALUNG LIVE (recorded in 2004) were released in 2005.

Ian Anderson performed a cover version of the song "The Thin Ice," on the 2005 Pink Floyd tribute album Back Against The Wall.

2006 saw the release of a dual boxed set DVD "Collectors Edition". This contained two DVDs, "NOTHING IS EASY", documenting the previously released Isle Of Wight footage from 1970. Not to be missed as a classic Tull performance. This is joined with "LIVING WITH the PAST", a documentary featuring the band on tour, in Britain and America, in 2001. It includes great live footage of the period with band interviews and other bonus features. From a nostalgia point of view, it has some excellent footage of a reunion line up with Anderson, Abrahams, Cornick and Bunker filmed in a pub gig environment performing some early Tull classics.

March 2007 saw the release of The BEST of ACOUSTIC JETHRO TULL, a 24-song set of Tull and Ian Anderson acoustic performances taken from various albums. Included are a new live acoustic version of "One Brown Mouse" and a live performance of the traditional song (attributed to Henry VIII), "Pastime With Good Company."

2007 sees another busy tour schedule but Tull are also in the studio recording some new material for a new CD which is expected to be released late Autumn 2007 and will be the band's first truly new album for 8 years; some of the new songs were performed live during the recent UK acoustic tour.

Well, I think I've said quite a bit about a band that we all know and one that surely has righteously made its mark in musical history. Ah, the genius of Ian Anderson! That, in itself, is irrefutably an understatement.
"Master of images-Songs cast a light on you"
N2yes

User avatar
Starship Trooper
 
Posts: 5443
Joined: Sat Feb 10, 2001 7:00 pm
Location: Concord, New Hampshire, USA.

Re: Jethro Tull

Postby elminster06 » Tue Sep 04, 2007 12:18 am

That remind me a lot of good memory.

back in "the living with the past" tour i was invited by a friend to see the show. It was my first tull show. And without warning i smoke grass for the first time in my life, someone must have bring a lot since a joint was passing trough the row every 10 min. And then i saw a big rabbit dancing on a flute solo for about 5min. It was really trippy. At the end of the show my friend make me a great surprise, he had backstage pass. First thing i know i was backstage talking to a giant rabbit. :icon_smok lol really a good souvenir.

beside that i never was a great fan of Tull but i still have a couple of album.
"thick as a brick, aqualung, passion play, ministrel, song from the wood, a lp of stormwatch and for sur Living with the past"

I think i'm gonna listen "Ministrel in the gallery" right now
[LEFT]I'm the Dude. So that's
what you call me. That, or Duder.
His Dudeness. Or El Duderino, if,
you know, you're not into the whole
brevity thing.
-the big lebowski-
[/LEFT]
elminster06

User avatar
Active Member
 
Posts: 28
Joined: Mon Aug 27, 2007 4:02 am
Location: Rimouski, in Quebec Canada

Re: Jethro Tull

Postby sound_chaser » Tue Apr 29, 2008 10:29 pm

I saw Tull live for the first time just a few years ago...and very good they were to. They played a few songs from the Christmas album, which I found a bit odd, seeing as how the gig was in April! I'm a relative newcomer to their music: although I obviously knew quite a few of their songs, I had never owned one of their albums until earlier this decade. Now I love them as much as Yes, with Stand Up being my favourite, but Benefit, Aqualung, Thick As A Brick, A Passion Play and Minstrel In The Gallery are not far behind. I also never realised until I started getting into them seriously, that Ian Anderson was the acoustic guitarist, as well as singer, flautist and songwriter: truly an amazing talent
sound_chaser

 
Posts: 1516
Joined: Sun Aug 26, 2001 5:00 pm
Location: The Light Side.

Re: Jethro Tull

Postby N2yes » Tue Apr 29, 2008 11:01 pm

What amazes me is that only three of us have commented on this fantastic band.
"Master of images-Songs cast a light on you"
N2yes

User avatar
Starship Trooper
 
Posts: 5443
Joined: Sat Feb 10, 2001 7:00 pm
Location: Concord, New Hampshire, USA.

Re: Jethro Tull

Postby yesman90125 » Wed Apr 30, 2008 3:45 pm

They are great
but with that opening what more is there to say..
my biggest favs are thick as a brick and passion play
favorite song the whistler
tull does have some records I'm not crazy about like under wraps
I saw them live and was really impressed with Martin and Ian
I didn't like that whole "A" period and bungle in the Jungle kind of stuff
to me this band is adventerous but rather inconsistant
line up changes havn't been a great thing(apart from the first major one)
they've seemed to get ontrack again in the mid 90's till today
I dont really know what the future holds for tull
not a band that would inspire me to get involved in a forum
but a band that has Produced some of my favorite music
I loved the Early to mid 70's stuff
then I felt like they became wayward searching for their audience
especially in the 80's
yesman90125

Starship Trooper
 
Posts: 2764
Joined: Sat Feb 10, 2001 6:00 pm

Re: Jethro Tull

Postby tardistraveler » Wed Apr 30, 2008 3:49 pm

Jethro Tull were part of my "holy trinity" of prog back in the 70's . . . saw them MANY times, including the TAAB and Passion Play tours . . . amazing, trippy stuff!

I'm currently rediscovering some of their post 70's things, and really enjoying it!
tardistraveler

User avatar
 
Posts: 6904
Joined: Tue Apr 01, 2003 8:17 am
Location: Nashville, TN, USA.

Re: Jethro Tull

Postby sound_chaser » Wed Apr 30, 2008 5:43 pm

tardistraveler wrote:Jethro Tull were part of my "holy trinity" of prog back in the 70's . . . saw them MANY times, including the TAAB and Passion Play tours . . . amazing, trippy stuff!

I'm currently rediscovering some of their post 70's things, and really enjoying it!


I'm guessing Yes is one third of the trinity, but who is No. 3?
sound_chaser

 
Posts: 1516
Joined: Sun Aug 26, 2001 5:00 pm
Location: The Light Side.

Re: Jethro Tull

Postby tardistraveler » Wed Apr 30, 2008 6:10 pm

sound_chaser wrote:I'm guessing Yes is one third of the trinity, but who is No. 3?


Genesis!!!

(the Gabriel/Hackett era stuff) ;)
tardistraveler

User avatar
 
Posts: 6904
Joined: Tue Apr 01, 2003 8:17 am
Location: Nashville, TN, USA.

Re: Jethro Tull

Postby sound_chaser » Wed Apr 30, 2008 6:56 pm

tardistraveler wrote:Genesis!!!

(the Gabriel/Hackett era stuff) ;)



Yeah, I thought so...great band! Actually, I have my own holy trinity of bands, whose body of work is so strong that it puts them head and shoulders above the rest. Those bands are The Beatles, Led Zeppelin and Steely Dan. What, no Yes, I hear you cry? Well, of course I love them very much, but Tormato, at least, disqualifies them, on the grounds that it was very when poor compared to what went before. Actually, this holy trinity idea would make for a great thread at Alternate Tunes.
sound_chaser

 
Posts: 1516
Joined: Sun Aug 26, 2001 5:00 pm
Location: The Light Side.

Re: Jethro Tull

Postby N2yes » Thu May 01, 2008 6:08 am

Agreed!
"Master of images-Songs cast a light on you"
N2yes

User avatar
Starship Trooper
 
Posts: 5443
Joined: Sat Feb 10, 2001 7:00 pm
Location: Concord, New Hampshire, USA.

Re: Jethro Tull

Postby john mccleary » Wed Jun 04, 2008 1:41 pm

Yes Jethro tull should be here.I have Songs from the woods.I respect them very much. :) [:yes] .
john mccleary

Veteran Member
 
Posts: 124
Joined: Fri Mar 09, 2007 1:05 am

Re: Jethro Tull

Postby Haze » Mon Jun 23, 2008 12:24 am

N2yes wrote:What amazes me is that only three of us have commented on this fantastic band.


Hmm.. Yeah... Well, it's like Yesman pointed out; after your initial elaborated essay there's not much more to say! :)

No, of course there could be tons more to say about Jethro Tull. Especially from me as I have them on the same throne as YES! For me it started with hearing my five year older cousin playing Aqualung back somewhere in the earliest seventees. I got hooked immediately and back-tracked the previous albums as well as stayed on as a huge fan - which I still am. I actually discovered a lot of bands around this time. Maybe a face I was going through? Amongst them YES, in the form of The Yes Album.

Although I could say that every Tull album has something for me (as with YES. Even Tormato ;) ) there are preferences:
- This Was (Great raw english bluesrock with promises for the future..)
- Aqualung (Obviously. Tull's Sgt. Pepper if there ever was one!)
- Passion Play (Okey, Thick.. is really good but PP is highly underrated)
- Songs From The Woods (The one I return to most frequently)
- Roots to Branches (Grows a little every time I hear it..)
Bonus: Ian Anderson's solo album - The Secret Language of Birds
Haze

User avatar
Charter Member
 
Posts: 572
Joined: Wed May 21, 2003 12:21 pm
Location: Umeå, Sweden.


Return to When Rock Was Young

Who is online

Users browsing this forum: No registered users and 1 guest

cron