Jethro Tull Appreciation Thread

I agree with Tootull and Dr. Bogenbroom. The problem with Too Old and Warchild is their origins in other projects (a musical and a soundtrack to a contemplated film). This means that there are some filler tunes on each, designed to carry the plot.

I mean, come on Tootull, do even you love "Taxi Grab?"

 

There is a lot to be said for the 1989 Rock Island set list. It was a well balanced collection imo.

Strange Avenues, Steel Monkey, Big Riff And Mando, Thick As A Brick, Rock Island, Requiem/Black Satin Dancer (inst.), Cheap Day Return, Mother Goose, Jack-A-Lynn, Another Christmas Song, My God (incl. Bourée/Soirée), Undressed To Kill, The Pine Marten's Jig/Drowsy Maggie, The Whaler's Dues, Budapest, Farm On The Freeway, SeaLion (inst.), Kissing Willie, Nothing Is Easy, Aqualung, Locomotive Breath, The Third Hoorah (inst., incl. Dambusters March)

 

Last of the Tull arena rock concerts. Very enjoyable of course, though not a fan of Big Riff And Mando.
Switched from Maple Leaf Gardens because of an internal feud at the Gardens.
26/10/89 Copps Coliseum Hamilton, Canada
Strange Avenues, Steel Monkey, Big Riff And Mando, Thick As A Brick/Rock Island, Requiem/Black Satin Dancer (inst.), Cheap Day Return/Mother Goose/Jack-A-Lynn, Another Christmas Song, My God (incl. Bourée/Soirée), The Pine Marten's Jig/Drowsy Maggie, The Whaler's Dues, Budapest, Farm On The Freeway, SeaLion (inst.), Kissing Willie, Nothing Is Easy, Aqualung, Locomotive Breath, The Third Hoorah (inst.)
http://www.ministry-of-information.co.uk/setlist/89.htm

 

Actually splashed out and went to every concert on the UK leg of the tour in 1989. Inverness was special - first concert of the tour and the band were top class. Even when we finally got back to London and the three Hammersmith shows the sound and the band were still brilliant

 

AFAIK, the last tour with another truly well-balanced (old and new) set list was the UK/European leg immediately on the trail of the release of Roots To Branches, in 1995, so the first (Tull) tour with Jonathan Noyce. I don't remember the set much but I recall from reading David Reese's mag that it looked fabulous! ...Provided you were a fan of RtB of course! (which I am)

After that it was more or less a succesion of best-of tours, wasn't it?

 

Stand Up or Aqualung or Thick As A Brick?
http://www.stevehoffman.tv/forums/showthread.php?t=133100&highlight=
A Passion Play or WarChild or Minstrel In The Gallery or Too Old To...
http://www.stevehoffman.tv/forums/showthread.php?t=148095&highlight=
Songs From The Wood or Heavy Horses or Stormwatch?
http://www.stevehoffman.tv/forums/showthread.php?t=142143&highlight=
Broadsword or Under Wraps or Knave or Rock Island or Catfish or Roots
http://www.stevehoffman.tv/forums/showthread.php?t=148096&highlight=
Ian Anderson - Walk Into Light or Divinities or Secret Language or Rupi's Dance
http://www.stevehoffman.tv/forums/showthread.php?t=148097&highlight=

Views from 40 Years of Jethro Tull 1968-2008
http://www.stevehoffman.tv/forums/showthread.php?t=138199&highlight=
Jethro Tull - "Live At Madison Square Garden 1978" (CD/DVD)
http://www.stevehoffman.tv/forums/showthread.php?t=190692&highlight=

 

Have you seen the "10 Albums That Changed My Life w/ Ian Anderson" in the latest Goldmine? I pulled out Beethoven's 9th last night after reading it.

 

http://www.goldminemag.com/article/10_albums_that_changed_ian_andersons_life/

 

http://www.pressandjournal.co.uk/Article.aspx/1596710?UserKey=

http://www.sheffieldtelegraph.co.uk/music/No-living-in-the-past.6180621.jp

 

Thanks for the interview post TooTull, I liked the 2nd one quite a bit.

I was listening to Tull on my way to work this morning and realized that the song "Mountain Men" on Crest of a Knave appears to be the last really good vocal performance by Ian. Ian's singing in this song is not far removed from his pre-throat problem work on Under Wraps or Broadsword. I wonder if it was recorded earlier than the other tracks on C of a K?

 

One of my least favourite Tull tracks, regardless of this, here's some info.

Mountain Men recording date: Interesting enough that 1987 has a ? at Collecting Jethro Tull. http://www.collecting-tull.com/

http://www.collecting-tull.com/Hartov/tracksmn.htm

http://en.wikipedia.org/wiki/Jethro_Tull_(band)

 

.....
I think "Mountain Men" and "Dogs in Midwinter" are my two favorites on Crest, but I know I'm in a small minority.

 

BOURÉE hehehe

http://www.popmatters.com/pm/review/115191-ian-anderson-7-october-2009-chicago-il

 

Love "Dogs in the Midwinter"

Favourite Knave tracks here:
"Farm On The Freeway" - 6:31
"Jump Start" - 4:55
"Said She Was A Dancer" - 3:43
"Dogs In The Midwinter" - 4:29
"Budapest" - 10:05
"The Waking Edge" - 4:49
+ the bonus track on the remaster: "Part Of the Machine"

 

Ian Anderson 2006 Sound&Vision

http://www.soundandvisionmag.com/features/1655/

30 Minutes With Ian Anderson of Jethro Tull
From the S&V archives: The mad minstrel shares his feelings on stereo, quad, and surround sound.

by Mike Mettler
July/August 2006

Ian Anderson of Jethro Tull is quite animated when discussing the current and future state of recorded music. Back in the early months of 2000, Anderson and I sat down in a hotel restaurant in New York City to discuss similar topics. It's interesting to see how things have progressed since then — or not...

So: Surround sound or stereo?
Two channels seems to be just right. We've got two eyes, two ears, two nostrils — we're binary creatures by nature, so stereo sound works for me.

You were among the pioneers of recording in quadraphonic sound.
That's right. By 1975, I was recording in dedicated four-track — two front and two rear channels — but I came very rapidly to the conclusion that the only way to do that correctly was to use the rear channels for live-performance ambience. That meant carrying only 60% of the room sound in the back speakers in order to give the idea of music being performed in an acoustic space. But that's kind of underutilizing the rear channels, isn't it, if that's all they do?

What do you think about recording in surround sound now?
Well, you don't want me sitting on your shoulder breathing on the back of your ear. That's not going to make the music sound any better. It's going to be disconcerting. What works best is when you very gently suggest being in an environment with the artist, but he's still a performer and stays on his side of the footlights. This may be an old-fashioned point of view, but I think it's important not to cross that strange borderline between the performer and the listener. That would be like going to the art gallery and stepping through the frame and being a part of a Turner painting.

I think there are some fundamental truths in terms of presenting entertainment and art. If it's sheer entertainment, by all means, have multichannel sound and be surrounded by the Arnold Schwarzenegger experience: total absorption, total immersion. But if I want to listen to Beethoven's Ninth Symphony or a great piece of pop or rock music, I'd rather sit on this side of the footlights and have it presented to me so I feel I'm in a natural acoustic space with only some of the information coming from around me. Frankly, you don't need multichannel discrete audio to do that.

Analog or digital?
I hate — hate — analog! And I hate vinyl! If I have to choose, I'll go for the CD every time. Most irritating to me is the turntable rumble, the scratches, the general noise. There is no such thing as a great-sounding vinyl record. It's impossible. You try scratching a wiggly groove in a piece of lacquer with a sharp needle and tell me that's art — forget it. That's just making the best of the available technology. It's a helluva compromise. And besides, now comes the next 15 years worth of hi-fi quality: SACD, DVD-Audio, and beyond.

But we're not allowed to switch to it just yet — not until the Pioneers and the Sonys and everybody else have emptied their warehouses of all the VCRs, CD players, and cassette players. The technology exists, but we consumers cannot take advantage of it because the political and economic realities dictate that things have to take their time getting through the system until we're allowed to have the new toys.

You probably don't care too much for MP3.
MP3 is of absolutely no interest to me whatsoever. Musically, it's a highly compressed audio file. It still takes way too long to download. And we're still a matter of years away — not too many, but, still, a few years away — from any kind of universality of technological download for most people on earth to download something with some semblance of musical quality. But it's not going to be quick and it's not going to be universal overnight.

Modem speeds at the moment? I mean, just forget it. It takes hours to download an album. And if you do do it, well, you've got a lot more time in your life than I do.

I know I used to enjoy making compilation tapes, back when I had the time to do them.
When home taping first came around with the advent of the cassette, the artist and the record company all got fearfully worried that this would result in a huge amount of pirating of music, that it would spell the end of the music industry — and, of course, it didn't happen, because all of us who made our little tapes all recognized the trade-offs in terms of quality. The hassle factor of copying — even in real-time, 1-to-1 — it's a dreary job. And we tend to go into the record store and buy the CD, anyway.

Downloading has got to be really quick — a matter of seconds — to make it worth it to go to that extreme. What's going to make it worthwhile, in my humble opinion, is that the cheap and cheerful end of the glitzy pop charts will be highly compressed audio that will be downloadable onto a static format like a memory chip, smart-media card, or whatever. It'll need 100 MB to make it worth the hassle. But the advantages are that you'll have a very small player that's jog-proof so you can take it running, go to the gym, or put it in your car — it's a convenience. But it's not even going to have the quality of CD...

That's my problem with it. If it's not going to have the quality level of CD, why bother?
The answer is convenience. It's speed of download time if you're taking it off the Net — legally, we hope — or whether you're just copying it from your friends. People who enjoy music and want to enjoy the quality of the original analog recordings — then you need a minimum of 24 bits — which doesn't sound like a whole lot more than the 16 we're used to with the CD, but it's a logarithmic progression. 24 bits, to all intents and purposes to the human ear, has the smoothness of the dynamic response we associate with analog recording.

I can't quite put my finger on it, but I've never felt comfortable with the quality of sound of CDs. It's always sounded edgy, harsh, and, above all, fatiguing.

http://www.soundandvisionmag.com/fe...hro-tull-on-the-future-of-recorded-music.html

Ian Anderson of Jethro Tull on the Future of Recorded Music
The lay of the land from the outspoken front man/flutist for the perennial British rock vanguards, currently out on the boards here and abroad supporting Aqualung Live (RandM) and Plays the Orchestral Jethro Tull (Benz Street).

by Mike Mettler
July/August 2006

What do you think of downloading?
In the days when I grew up, you really had to work hard just to find music. Besides the obvious pop that was being played on the one or two channels playing it, there wasn't much access to jazz or blues or any other "minority" music that could be arrived at short of listening to live music or going to specialty shops that stocked that sort of thing. I was quite lucky that there was a shop in the town I grew up in that stocked jazz and blues records. As a teenager, I wasn't listening to pop and rock; I was listening to jazz and blues, primarily. Some of those specialty shops exist today selling physical product, be it vinyl or CD, and for those people who want to sift through racks of records, that's fine. But those of us who perhaps don't have the fortune to live near those stores rely on postal deliveries of physical product from people like Amazon who pretty much have anything on current release. And, of course, the great advantage is that you can listen to streaming excerpts of a wide variety of music on the Web and find out more about it.

With digital delivery available at virtually every fingertip hovering over a keyboard, is the physical product being threatened? Are we at the point that CDs could disappear?
I don't think most people believe that's true. But CDs have overstayed their welcome in the sense that the 16-bit musical format has been around for about 25 years. That's a long time. Back in '74 or '75, I was in JVC's studios in Los Angeles cutting some of the first quadraphonic discs. It was the beginning of a new age. But of course quad never really caught on at the time, and that technology that was used back then was being reconfigured for the laserdisc. JVC and Philips pioneered these things back then, giving rise almost accidentally to the CD. I can remember going to speak to the folks at our record company: "Imagine that you could put all of this stuff on a videodisc, but forget about the video. Just concentrate on the sound. You can probably get a whole record on something the size of a single." And they said, "Hmm, yeah, that's very interesting." And they didn't think too much about it. But then a few years later, that became commonplace and the face of audio music.

Really, the fidelity of audio CDs has been in question from the beginning. It's amazing that people have stuck with them, and that, in this day and age, sub-CD quality seems to be the order of the day since most of the people experiencing the joys of downloading just aren't aware how limited the audio quality is of what they're paying for. The MP3 is universal, regardless of where you send it to and what people have on the other end to play it.

Sooner or later there will be a successor to the CD that will make sense for the audiophile, whether it's going to be like a CD or some kind of solid-state storage device that hold large file sizes. Whatever succeeds the CD, it probably won't be round. It'll probably be square. [laughs]
Surround Sound in the Gallery

About six years ago, you and I talked about music being remixed in surround sound, a concept then in the embryonic stages. What do you think about it now?
I think that surround sound is most intelligently used in audio when you use the rear channels simply to provide the ambience and the specific nature of the listening space, be it a concert hall or a club. With live albums, you have audience sounds coming mostly from the back rather than the front. But it's not really exciting compared to the use of surround sound in a Star Wars movie, or whatever, where big and dramatic things happen all around you in the audio spectrum. Listening to music isn't really like that. It's a much more subtle experience. I would think that a lot of people buying surround sound equipment are enjoying it the most primarily by watching a movie.

When music DVDs first came out, they were pretty popular. People looked forward to the idea that that there was actually something they could play on the shiny new DVD players that they'd spent a few hundred dollars on. But music DVD sales have dropped dramatically around the world, and movies go to DVD very often within a very short space of time. They last in the movie theaters for 6 weeks and they're on the racks just a few weeks later. The reality is, most people are not watching music — most people are listening to music. That's really the whole point of it. You may buy the DVD and watch it once — or twice, if even that. But music, you may listen to that your whole life — a couple hundred times, or more. How many hundreds of times have people heard The Dark Side of the Moon, or Sgt. Pepper, or whatever? They're pieces of music that not only will be enjoyed over hundreds of listenings, but they may never really fade away at all. Watching the experience doesn't really cut it for most people.

People listen to music when they're doing something else. It's part of the soundtrack that makes the day go by. People are listening to music when they're driving their car, or sitting at their office desks. I guess many people, me included, are doing office work while connected to broadband Internet and are streaming live music from a favorite radio station. That's what radio is also about these days.

Speaking of digital delivery, do you have an iPod?
I'm on my third iPod now, but I'm not one of those crazy people who have to have everything that has an Apple logo on it. I think there are some things that Apple does very well. Their venture into iTunes and downloading music is really to support the profit they make on the hardware. As a business model, they're really creating demand for a physical product that has a cachet attached to it. It's a standard by which other digital audio players are measured, and iTunes has a workable, operable system that's at least as good as and better than most. It really is the easiest to operate that I've come across, and iTunes, when it comes to ease of downloading, is pretty sophisticated. It doesn't search or give you as many genre options as certain others, but it's still pretty good.

And now there's pressure from the record companies on Apple to drop the price per track below its current level. I think where the price is pitched at the moment is just right. How many cappuccinos with all the trimmings can you buy for the price of one CD these days? Three? Not very many. [chuckles] When you price an entire classic CD — whether it's rock, pop, blues, or classical —as throwaway as two and a half cups of coffee at Starbucks, very enjoyable though they may be, they won't be with you a few hours later. We don't seem to value the music we listen to very highly these days, when you compare it to other disposable products that we seem to guzzle without thinking. I think music, arguably, is already underpriced, and those who think it should become cheaper, or even free, are talking out of their bottoms. Music is not valued the way it should be, and I would be very disappointed if the price came down.

But we have to remember that the future of music depends on new artists, and new people getting infused about new music, new people working at record companies and publishing and the recording industries and the marketing and promotional parts of the whole business. And if people aren't able to do that properly, there will be no new music. You can't expect there to be the investment in the artists of tomorrow unless the whole business of recording, marketing, and promoting music is going to be profitable for the many, many people involved in that process.

That's why most artists may be prepared to give away music on their websites as a promotional tool. It's the same way that record companies traditionally have given away 20 percent of the records for free for marketing purposes. That's happened. That's the real world. That's the way it goes. We can be pretty sure that artists giving away their records have to think about giving away records for the rest of their lives to stir enough interest for people to go out and actually buy them.

Are we at a critical point? Is there any turning back, or any solution in your mind?
It's about managing the system for the benefit of who comes next — managing the system so that we're going to see profitable and healthy companies. We should expect that people can make reasonable levels of profit so they can invest wisely in the music of tomorrow, whatever that might be. Whether we like it or not based on our ideas of musical merit isn't the point, it's about giving future artists the opportunity to do what's been done in the last 40 or 50 years of commercial music. It's about as cheap as it can be.

Of course there are people out there who feel that music should cost next to nothing or simply be absolutely free. I hope they don't get their way. Otherwise, there will be no meaningful music. The reality is, even if you're just talking about making music available on the Internet, nothing is for nothing. There are discernible costs attached. You have to get people's attention and get your product noticed. Then you have to find other ways to market and promote that, via the Internet or other traditional media in order to get people to go to the right website on the Internet to go download your music. There are still going to be costs attached to the delivery of any kind of music anytime anywhere. Those costs are just a part of the healthy democracy in which we'd like the Iraqis to live. If a lot more people had had iPods, we may not have had the Spanish Inquisition or the troubles in Ireland or the former Yugoslavia. We may have been able to soothe some troubled souls.

iPods, MP3, and Beyond

As someone interest in sound quality, how do you wrestle with what you have to do to get songs on your iPod? Do you go lossless?
Well, I'm usually like everyone else — I'm in a hurry. Over here [in England] we pay 79 pence for a track, which is probably about $1.20, a little more than you pay in the USA. But it seems to me to be a reasonable deal. Some tracks are 5, 6, 7 minutes long, which doesn't seem bad to pay for something you'll listen to many times, usually while you're doing other stuff, or you're in your car with road noise, engine noise, wind rumble — arguably, it really doesn't matter whether you're listening to 24-bit/96k or higher model of audio quality as opposed to some highly compressed MP3. That doesn't make much of a difference to most people most of the time. I could sit and listen to music on high-performance headphones in a room with great speakers and a great sound system, and there is a world of difference. I sometimes feel sad that, for many an audiophile, there aren't that many easy options. I don't think that, given the file sizes that I've had to move around for professional purposes, I wouldn't want to be doing that to listen to things recreationally. I'm in too much of a hurry. I don't want to spend that kind of time downloading really, really big files. But most people don't have to worry about that. They just take whatever bit rate iTunes gives them.

I'm also torn as an audiophile pressed for time but wanting a lot of songs with me on my primary iPod, which is at about 13,800 at the moment. I like having that as an option. If it's at 128, so be it.
One way or another, whether you've downloaded from iTunes or burned from CDs that you've bought or been given, that constitutes a considerable financial investment on your part. If you think of somebody having 20,000 tracks on their iPod, that's a lot of money, isn't it? It's a couple thousand dollars worth of records, essentially.

How many songs do you have on yours?
I don't use my iPod for listening to music recreationally. I use it as a storage tool for my own records, stuff I have to learn from other artists, and live recordings for future reference. I use it more as a professional notebook rather than a means to listen recreationally. Usually when I'm doing that, I'm listening to classical music streaming down from my computer or my digital radio sitting at the side of my office desk. I'm not very fond of listening to music when I'm on an airplane because the amount of noise going on is horrendous. And the regulation headphones are rarely satisfying because they make your ears sore and they're artificial-sounding. I don't listen to music a great deal when I'm traveling because I don't like noise in the background interfering with what I'm listening to. I'm probably not a typical listener from any standpoint. The kind of music I listen to is not pop and rock. It's usually classical or world music. And I like to listen to it with a clean ambient environment, in a room where people are not making noises, no contradiction in musical terms with what I'm listening to.

One of the obvious reasons that radio stations compress their signals is if you're listening to quiet passages in your car, there are bits that you just don't hear above all the noise. [chuckles] I'm just amazed people turn their radio on instinctively when they get into their cars. There are these tinny little things happening in the background, like a hint of some programmed drum machine or something. It's just a habitual comfort thing to hear some little rippling kind of noise that breaks up the tedium of wind, engine, and road noise. It's very weird. I think those people, when they sit down in a quiet room to listen to music, would find it a very difficult experience. They need to have records that have wind, engine, and car noise on them for them to be able to enjoy the music. [laughs]

I like to do appointment listening where I sit down at home and not do anything else for an hour or so.
From a technical point of view, those of us who make the music have to make sure it sounds okay across a variety of listening experiences on a variety of equipment, so the compromises we make to make things as compatible as possible perhaps render the music something less than what we'd hoped it to be. That's just one of the things you have to do. And you'd do things differently if you were mastering for a vinyl record as opposed to a CD.

It's surprising how long the MP3 has been around. There are many other compressed digital-delivery formats, but the MP3 is kind of universal, regardless of where you send it to and what people have on the other end to play that. In some ways, it's the devil you know, and it's not a bad one. It's kind of okay. It's definitely preferable to cassettes and vinyl.

 

What else can you do with Ian. Such a humble guy. The pioneer of MTV's "Unplugged" according to another interview, and according to this one, the orginator of the idea of the CD.

 

“Although we try to vary it, there are some songs that we have to do, such as Aqualung, Beret and Locomotive Breath,” he said.

Tull do Prince's Raspberry Beret? I'm there!

 

Does anybody know if the entire "Too Old for Rock and Roll, Too Young to Die" album was filmed live for TV? (see link below) And if "yes", why the hell is this not available on DVD? These YouTube clips show Tull in excellent form.

http://www.youtube.com/watch?v=eo-L2Ik21AA

 

It's certainly available on bootleg dvd's.
http://www.ioffer.com/i/Jethro-Tull-Live-DVD-Baden-Germany-1999-100282791
A two for one issue. Can't vouch for the seller.

 

I’ve never liked rock music - Ian Anderson
http://www.eveningtimes.co.uk/features/i-ve-never-liked-rock-music-1.1017147

The Montreal Gazette - Rock critics: some musicians they loathe

 

Steve Carell and Jethro Tull. <insert silly Michael Scott office smirk here> Awesome. (That's what she said!)

http://www.guardian.co.uk/film/2010/apr/03/steve-carell-tina-fey

 

There is a very good chance that Steve Carell and I were at the same Tull concert in 1978 (Boston Garden)

 

Strangely enough: Apr 13, 2010 Music Review: Jethro Tull - This Was
http://blogcritics.org/music/article/music-review-jethro-tull-this-was2/

 

Tull Through Time

Pay attention, eh! Be a quizz kid.

All corrections are welcome.

Thanks in part to:
http://s1015.photobucket.com/albums...urrent=Calender199830thanniversarycredits.jpg
http://s1015.photobucket.com/albums...urrent=JethroTulll30thanniversarycalender.jpg

When was Jethro Tull named? per:Glenn Cornick

- it seems that 'Sunshine Day' was recorded on Saturday 6th January 1968.

The decision to name the band once and for all was apparently on the agenda at a record company / band meeting of some sorts two days later, on Monday 8th January 1968. Either on that night or at some point over the following 5 days, 'Jethro Tull' was decided upon.

So, still, the first real recording made by the group under the Tull name was the sessions for 'This Was' in the summer.

(Thank you Andrew Jackson)

Tull through time:

Feb. 02, 1968 > Jethro Tull begins with their first concert at London's Marquee Club. The group includes Ian Anderson, Mick Abrahams, Clive Bunker and Glenn Cornick.
Feb.16, 1968 > The single Sunshine Day/Aeroplane miscredited as Jethro Toe is released.

Jan. 24, 1969 > Jethro Tull's first USA concert was at New York's Fillmore East opening for Blood Sweat & Tears.
Jan. 24, 1970 > The British magazine New Music Express chose Tull as best new group by more than 3,000 votes.
Jan. 17, 1975: Tull opens the WarChild tour at the Civic Center in
Nashville, Tennessee, the first of nearly 100 U.S. shows in 1975.
Start of WarChild US tour.

I attended...23/2/75 Convention Center Niagara Falls, NY. USA

"The show was delayed because, when making his 'big' entrance, Martin tripped on a cable, damaging the stage rig. Lights and sound were restored within 15-20 mins."
further... at Niagara Falls, NY (Two level stage) great entrance by Ian Anderson above the band, looking like the WarChild cover, then I attended 7/10/75 Maple Leaf Gardens Toronto, Canada.

Maple Leaf Gardens setlist:
Thick As A Brick (excerpt), Minstrel In The Gallery, Wond'ring Aloud/Again, To Cry You A Song, A New Day Yesterday (w. flute solo, incl. Bourée & Living In The Past), Skating Away..., Ladies (w. drum solo), 'WarChild Suite', Cross-Eyed Mary, The Hare... (intro), Aqualung, Guitar Solo, Wind Up, Back-Door Angels, Locomotive Breath/Hard-Headed English General/Back-Door Angels (reprise)

Both concerts featured a performance of "How Much is That Doggie in the Window?"...it was funny the first time and the second time I remember thinking they could be performing a Tull tune, why this?

Jan. 21, 1971: First Tull show in Austria, at the Konzerthaus in
Vienna.
Jan. 30, 1971: Tull plays Switzerland for the first time, playing at
Montreux.
Jan. 31, 1975: In an attempt to satisfy demand after selling out five
shows in Los Angeles, Tull begins a two-night stand at the Sports Arena in San Diego.
Jan. 1976: M. U. The Best Of JT is released. Feb. 13, 1969 A four-night stand at the Boston Tea Party begins during Tull's first visit to America.
Jan. 08, 1994: Ian Anderson plays an acoustic solo set at the Tull
convention in Altenkirchen, Germany.
Jan. 09, 1969: The show billed with Jimi Hendrix at the Konserthaus in
Stockholm, Sweden, was the second time playing outside England for Tull.
Jan. 10, 1969: Tull plays its second Denmark show, at the Falconer
Center in Copenhagen,
Jan. 11, 1971: Tull plays its first show in Norway, at the Konserthuset
in Oslo.
Jan.11, 1980: BBC2 broadcasts a one - hour Tull documentary on the
program Arena.
Jan. 16, 1977: At the Dorothy Chandler Pavilion in Los Angeles, formal
black tie dress is required in the 471-seat Founders Circle for a Tull
show.
1994 First-ever Tull concert in India at the Rang Bhawan in
Bombay.
Jan. 1988: Keyboardist Martin Allcock joins Tull, replacing Don Airey.

Feb. 13, 1969 A four-night stand at the Boston Tea Party begins during Tull's first visit to America.
1994 First-ever Tull concert in India at the Rang Bhawan in
Bombay.
Feb. 21, 1970 Fans riot and smash up the glass-walled Jahrunderthalle
venue at Tull's first-ever German show, in Frankfurt.
Feb. 23, 1994 First ever Hong Kong concert at the Ko Shan Theatre.
Feb. 24, 1981 "A" tour ends with a concert at the Palais Des Sports in
Lyons, France, followed by a 14-month hiatus.
Feb ?? 1981 Tull performs "Crossfire" and "Fylingdale Flyer" on the
British "Rockpop" TV show.
Feb. 26&27, 1994 At the Magog Motorcycle Club 20th anniversary Tull
performs in New Plymouth, New Zealand.
Feb. 03, 1975 The first of five soldout concerts at the Los Angeles Forum, drawing a record crowd of 93,000 people.
Feb. 10, 1975 Crowd noise at the LA Forum causes Anderson to stop playing and he urges everyone to scream for awhile and get it out of their systems. 1977 The "Sight&Sound" TV recording is done at "The Golden Green Hippodrome" in London.
Feb. 11, 1970 The "Witch's Promise" single reaches No. 3 on the U.S. charts.
Feb. 1969 "This Was" is released in America.

March 6, 1971: Jethro Tull appears on the cover of Record Mirror mag.
March 9, 1976: Tull guests on BBC-TV's Old Grey Whistle Test.
March 9, 1992: Rocks On The Road single is released.
March 13, 1969: Tull debuts at San Francisco's Filmore West.
March 13, 1992: Drummer Dave Mattacks and keyboardist Andy Giddings
make their first live appearance with Tull at the Pavilion in Plymouth, England. It is the first of three separate tours for 1992.
March 16, 1985: In honour of J.S. Bach's 300th birthday, Tull plays
Bach's "Double Violin Concerto" in Berlin. Keyboardist/violinist Eddie
Jobson is reuinited with the band for this performance.
March 21, 1996: Tull plays its first Bolivian concert at the Estadio
Silas in La Paz.
March 25, 1996: Following Anderson's knee injury in Peru, Tull starts
the 11-show U.S. wheelchair tour, at the Electric Factory in
Philadelphia.
March 27, 1975: In a Rolling Stone interview, Anderson tells of ordering
his now-legendary codpiece for his medieval minstrel costume.
March 28, 1947: John Spencer Evans is born in Blackpool, England.
More March Stuff....
1976: Anderson tells the Comment newspaper that Too Old to Rock 'n' Roll
began as a musical for Adam Faith, but the project was abandoned.
1996: While on tour in South America, almost all members of the Tull
tour entourage are stricken with food poisoning. One member of the road crew is hospitalized in serious condition.
Also on this tour, Anderson injures his left knee which subsequently requires surgery.

April 1, 1982: Drummer Gerry Conway and keyboardist Peter-John Vettese
debut live with Tull in Oslo, Norway.
April 1, 1975: Ian Anderson badly twists an ankle on stage at a concert
near Kiel, Germany.
April 5, 1970: John Evan makes his first appearance with Tull in
Germany.
April 6, 1977: In California, at the Anaheim Convention Centre, Jethro
Tull plays Beethoven's "Ninth Symphony" second and fourth movements,
abridged.
April 10, 1979: Dark Haiti bootleg is recorded in Seattle.
April 15, 1975: Tull performs in Yugoslavia for the first time.
April 16, 1987: Clive Bunker tells an interviewer that he gave
then-future Tull drummer Doan Perry his first drum lesson when Perry was 14 years old.
April 19, 1970: My God bootleg is recorded in Long Beach Arena in
California.
April 21, 1991: Martin Barre runs the London Marathon.
April 22, 1985: Ian Anderson is the subject of an article in People
magazine, entitled, "Rocker Ian Anderson as a Salmon Farmer."
April 27, 1993: Tull celebrates its 25th anniversary and the 25th
anniversary of WMMR-FM radio, by playing at the Spectrum in
Philadelphia.
April 1980 Tull plays "North Sea Oil" and "Old Ghosts" on the show
Rockpop.
April 23 - Glenn Cornick's birthday

May 01, 1976: Bassist John Glascock's first performance with Tull.
May 01, 1979: John Glascock performs for the last time with Tull.
May 02, 1982: Jethro Tull is featured on Italian TV on a show called 'Roma 7up'.
May 08, 1969: Tull's first performance at the Royal Albert Hall, London.
May 09, 1978: Heavy Horses video aired on 'The Old Grey Whistle Test' on
BBC2.
May 13, 1982: Tull's concert at Wembley Arena in London is heralded by
the Daily Telegraph newspaper as the group's most skillfully executed
show in ten years.
May 24, 1970: Tull's first Canadian show, at the Autostade in Montreal.
May 28, 1969: Tull's first Irish show, at the National Stadium in
Dublin.
May 29, 1982: German TV broadcasts Rockpop '82, featuring Tull's
performance at the Westfalenhalle in Dortmund.
May 30, 1973: I had a wonderful time as I enjoyed Tull's performance at Toronto's Maple Leaf Gardens.
May 1971: Ian Anderson appears on the front cover of Hit Parader Mag.
May 1973: Creem mag.: The cover teaser is "Jethro Tull in Vietnam?"
May 1980: Drummer Mark Craney becomes the first non-British member of
Jethro Tull, replacing Barriemore Barlow.
May 1996: During an Australian tour, Ian Anderson develops a blood clot
in his leg and is hospitalized. This stems from surgery to repair his
knee injury suffered weeks earlier in Peru.

June
01, 1988: Martin Allcock makes his live debut with Jethro Tull at the Shoreline Amphitheatre in California, USA.
02, 1983: A documentary on Ian Anderson and Jethro Tull airs on BBC2, called "Food and Drink".
07, 1982: Jethro Tull performs on "Late Night with David Letterman." (NBC)
10, 1971:Jethro Tull concert at Red Rocks near Denver, Colorado, USA,
fans riot, and are tear-gassed, many are arrested or injured.
12, 1994: At a festival in Bucharest, Jethro Tull plays Romania for the
first time.
14, 1997: At the Amphitheatre in Presov, Jethro Tull plays it's first
show in the Slovak Republic.
15, 1982: Ian Anderson guests on the "Cleveland Afternoon Exchange" TV program.
16, 1954: Doane Ethredge Perry is born in Mt. Kisco, NY, USA.
17, 1993: The Utrecht Music Center in Holland hosts a concert by Jethro Tull. 1996: Aqualung 25th anniversary edition is released. The CD is remastered from the original version and includes an interview track.
19, 1976: Jethro Tull performs on the "Midnight Special" TV show on
NBC-TV.
20, 1991: David Palmer performs at the "Montreal International Festival
of Music" in Canada.
26, 1992: Gerry Conway returns for a Jethro Tull show in Zurich,
Switzerland.
27, 1988: The Crest of a Knave tour banner is stolen after a concert at
The Pier in NY, USA, Anderson issues a plea for its return.
30, 1986: Jethro Tull performs its first show in Israel, at Yarkon Park
in Tel Aviv.
June 1970: Ian Anderson appears in "Life" mag. 1994 Drummer Marc Parnell
fills in for Doane Perry during Jethro Tull concerts this month.

July
02, 1986: At the MKT Stadium in Budapest, Jethro Tull plays its
first-ever show in Hungary.
05, 1972: At the Town Hall in Auckland, Jethro Tull plays its first-ever
show in New Zealand.
07, 1972: At the Festival Hall in Melbourne, Jethro Tull plays its
first-ever show in Australia.
10, 1963: Andrew Giddings is born in Pembury, Kent, England.
15, 1971: Jonathan Mark Thomas Noyce is born in Sutton, Coldfield,
England.
15, 1972: Jethro Tull plays its first show in Japan, in Tokyo.
19, 1988: Clive Bunker plays drums on "Fat Man" at the Wembley Arena in
England, celebrating the bands 20th ann..
20, 1991: Jethro Tull plays for the first time in Estonia, at a festival
in Tallinn.
21, 1982: Phil Collins plays drums for Jethro Tull at the Prince's Trust
charity concert in London's Dominion Theatre.
22, 1971: Ian Anderson gets his picture on the cover of the "Rolling
Stone" magazine.
23, 1976: Jethro Tull plays to 55,000 fans at Shea Stadium, NY.
24, 1992: Dave's son, bassist Matthew Pegg, makes his live debut with Jethro Tull in Switzerland at the Nyon festival.
25, 1970: Ian Anderson stops a performance in Miami, Florida, to collect donations for bailing out fans, police had busted.
26, 1988: Jethro Tull plays "Girl From Ipanema" in Belo, Horizonte,
Brazil, during the band's first-ever South American show.
30, 1947: Bassist Jeffrey Hammond is born.
More July--1979: Bassist Dave Pegg joins Jethro Tull. 1995: Dave Pegg leaves Jethro Tull because of a heavy workload and conflicts with Fairport Convention.

Aug. 03, 1970 Tull plays Central Park in New York
Aug. 09, 1968 20,000 attend as Tull performs at the Sunbury Jazz & Blues festival, England.
Aug. 10, > Ian Anderson’s birthday
Aug. 30, 1969 “Stand Up” tops the British Top 20
Aug. 30, 1970 Tull plays at the legendary Isle Of Wight festival.
Aug. 30, 1984 …after a two-year absence Tull performs at Caird Hall, Dundee, Scotland.
August 1973 “A Passion Play” reaches #1 on the American charts.

Sept. 01, 1990 Jethro Tull on a bill with Fleetwood Mac - 80,000 attend London’s Wembley Stadium
Sept. 03, 1991 The album “Catfish Rising” is released.
Sept. 04, 1995 The album “Roots To Branches” is released.
Sept. 16, 1995 “Roots To Branches” tour begins at the Sands Centre in Carlisle, England
Sept. 18, 1989 Start of the “Rock Island” tour
Sept. 20, 1969 Pop poll-Melody Maker votes Tull most popular British group behind the Rolling Stones
Sept. 27, 1969 Ian Anderson lost his coat to wild fans at the National Stadium in Dublin, Ireland –The Album “Stand Up” is released.
More September stuff:
1975 Recorded in Monte Carlo “Minstrel In The Gallery” is released. “Minstrel In The Gallery” is my favourite album.
1979 “Stormwatch” recorded at Ian Anderson’s London studio is released.
1980 “A” is released as a Jethro Tull album-in the beginning it was intended to be a solo project of Ian Anderson.
1984 …from Ian Anderson’s home studio “Under Wraps” is released.
1987 …first studio album in three years, Hard Rock Grammy winner “Crest Of A Knave" is released.
1989 “Rock Island" is released. Recorded at Dave Pegg’s home studio and Ian Anderson’s home studio.

October 27, 1977 Ian Anderson purchases Strathaird, a 15,000-acre estate on Scotland's Isle of Skye.
October 03, 1969 “Sweet Dream” single released
October 09, 1978 Madison Square Garden, New York is broadcast by satellite around the world, (Jethro Tull was the first rock group to appear ‘live’ from the USA to UK television).
October 12, 1979 Ian Anderson receives a rose in the eye from a female fan during a Madison Square Garden NY show. Anderson wears a patch and two shows are canceled.
October 20, 1972 Release Of “Living In The Past”
October 21 1985 “Original Masters” is released
…in October
1968 “This Was” released in England
1974 “WarChild” is released
1978 “Bursting Out” live is released
1997 “Thick As A Brick” 25th 9 (plus live) anniversary edition is released in the USA.
1997 Mobile Fidelity Sound Labs release a complete version of “Living In The Past”

Nov. 04, 1970 Jethro Tull is the first rock band to play New York’s Carnegie Hall
Nov. 9, 1992 Anderson's prize harmonica is stolen from the Saint Denis
Theatre (Theater) in Montreal. Ian offers a reward for it's return.
Nov. 12, 1980 The Slipstream Video is filmed at the L.A. Sports Arena
in California, including live footage from the A tour.
November 22, 1993: Release date for Nightcap.
November 24, 1984: Ian Anderson suffers laryngitis. Jethro Tull cancels
its second and third shows at the Universal Amphitheatre in Los Angeles.
November 29, 1968: Release date for the Christmas Song/Love Story single.
November 30, 1996: Glenn Cornich undergoes open-heart surgery. Misses an appearance with Wild Turkey, at the UK Jethro Tull convention.
Nov. 17, 1946 Martin Lancelot Barre is born in Kings Heath, Birmingham, England.
Nov. 17, 1987 Tull appears on MTV for an interview and two live songs.
November 5, 1993: Jethro Tull performs their first show in Argentina,
at the Estadio Obras in Buenes Aires.
November 7, 1970: In New Music Express, Ian Anderson says that his original reason for wanting to start a group, was to meet girls.
November 20, 1969: Jethro Tull begins the first of four consecutive sold-out shows, at the Filmore West in San Francisco.
November 21, 1987: At a benefit for world hunger, held at the United
Nations, in New York, Jethro Tull plays an acoustic set for Hungerthon 1987.
1976 "Ring Out Solstice Bells" EP is released.
1977 "Repeat: The Best of Jethro Tull is released.
1983 Ian Anderson's first solo album "Walk Into Light" is released.

Dec. 3, 1977: WOR-TV in New York records a Jethro Tull video special called "Minstrel in the Gallery"
Dec. 7, 1977: The concert documentary "Minstrel in the Gallery" airs on WOR-TV, New York.
Dec. 5, 1984: While touring Australia, Ian Anderson is told that his young son was rushed to hospital with peritonitis. Anderson flies to England for his son's operation. He then returns to Melbourne for a show that night.
Dec. 9, 1975: Ian Anderson is featured on the cover of Circus Mag.
Dec. 14, 1969: Jethro Tull is scheduled to play a soldout show in Chicago at the Kinetic Playground. But, the show is moved to the Aragon Ballroom because the Playground allegedly is burned down by gangsters
Dec. 18, 1984: Tull appears on an American TV show called Rock Influences, which covers the history of progressive rock.
Dec. 1970 Tull performs "Witch's Promise" on the British TV show Top of the Pops.
Dec. 1983 Ian Anderson performs "Fly by Night" on the Leo Sayer show for BBC.
Dec. 1991 Ian Anderson appears on the cover of Music Collector Mag.
Dec 11, 1968: At the Rolling Stones Rock & Roll Circus in England, future Black Sabbath founder Tony Iommi plays his only show as Tull's guitarist. Jethro Tull were the "new kids" invited as guests on the show at the request of a Rolling Stone member or two.??
Dec. 1968: Guitarist Mick Abrahams leaves Tull over musical differences with Ian Anderson.
Dec. 1970: Bassist Glenn Cornick leaves Tull to form the band Wild Turkey and is replaced by Jeffrey Hammond.
Dec. 1987: Ian Anderson gives a one-minute Christmas message on BBC-TV.
Dec. 1987: In an interview for A New Day, John Evans reveals that his stage act and dress were inspired by his love for comedian Chico Marx.

NASA STS-126 Report #24 Wednesday, November 26, 2008 - 9:00 a.m. CST
http://www.spaceref.com/news/viewsr.html?pid=29945
Quote:
Endeavour crew members, Commander Chris Ferguson, Pilot Eric Boe and mission specialists Pettit, Steve Bowen, Heidemarie Stefanyshyn-Piper, Kimbrough and Greg Chamitoff, were awakened at 6:55 a.m. The song was "North Sea Oil," by Jethro Tull. It was played for Bowen.


Quizz Kid

Cut along the dotted line slip in and seal the flap.
Postal competition crazy, though you wear the dunce's cap.
Win a fortnight in Ibiza line up for the big hand out.
You'll never know unless you try what winning's all about
be a quizz kid. Be a whizz kid.
Six days later there's a rush telegram
Drop everything and telephone this number if you can.
It's a free trip down to London for a weekend of high life.
They'll wine you; dine you; undermine you
better not bring the wife
be a quizz kid. Be a whizz kid.

It's a try out for a quizz show that millions watch each week.
Following the fate and fortunes of contestants as they speak.
Answerable to everyone; responsible to all; publicity dissected
brain cells splattered on the walls of encyclopaedic knowledge.
May be barbaric but it's fun.
As the clock ticks away a lifetime,
hold your head up to the gun of a million cathode ray tubes
aimed at your tiny skull.
May you find sweet inspiration, may your memory not be dull.
May you rise to dizzy success.
May your wit be quick and strong.
May you constantly amaze us.
May your answers not be wrong.
May your head be on your shoulders.
May your tongue be in your cheek.
And most of all we pray that you may come back next week!
Be a quizz kid. Be a whizz kid. - Ian Anderson