Jethro Tull brings 40th Anniversary Aqualung tour to America http://www.quadraphonicquad.com/for...ngs-40th-Anniversary-Aqualung-tour-to-America http://www.j-tull.com/tourdates/index.html JUN 40th Anniversary Aqualung USA/Canada Tour 8 Morrison, CO Red Rocks Amphitheater - tickets 10 Phoenix, AZ Comerica Theatre - tickets 11 Los Angeles, CA The Greek Theatre - tickets on sale 3/26 12 Valley Center, CA Harrah's Rincon - tickets 13 Anaheim, CA Grove of Anaheim - tickets on sale 3/25 14 Saratoga, CA The Mountain Winery - tickets on sale 5/9 16 Eugene, OR Cuthbert Amphitheater - tickets on sale March 19th 17 Troutdale, OR McMenamins Edgefield Concerts - tickets on sale March 11th 18 Woodinville, WA Chateau Ste. Michelle Winery - tickets 19 Vancouver, BC The Centre in Vancouver - tickets 21 Edmonton, AB Northern Alberta Jubilee Auditorium - tickets 22 Calgary, AB Southern Alberta Jubilee Auditorium - tickets 23 Regina, SK Casino Regina-Show Lounge - tickets 25 Minneapolis, MN Orpheum Theatre - tickets 26 Chicago Chicago Theater - tickets 27 Chicago Rosemont Theatre - N/A - free WDRV radio show Up to me Iain McCaig http://www.stevehoffman.tv/forums/showpost.php?p=6559550&postcount=971
It All Trickles Down - Only available on this numbered single to date. Edgy and I like it, love it. Video thanks to Jeff at The Jethro Tull Board (The Jethro Tull Board youtube channel) http://thejethrotullboard.proboards.com/index.cgi?action=display&board=tullvideo&thread=2036&page=1 It All Trickles Down http://www.youtube.com/watch?v=OJamkWkYTto&feature=player_embedded
Hi Tootull, thanks for posting that link to 'It All trickes Down'. I have tried several times to find this song and failed, this is the first time I was able to hear it. It is a pretty nice toon that would probably rank in the top half of the songs from Dot-Com for me.
Tasty Tulll Teets... I appreciate Jethro Tull, and TooTullToo... (knot toomanytoo)... And I too have that terriffictulltoon All Trickle Down on taste Cd-single as tootulltoo posted towards the top of the terriffic tootullthread... tatatullitiestilltomorrow... cheers,
http://www.phoenixnewtimes.com/2011...ro-tull-toppled-metallica-for-a-grammy-upset/ Somehow, Jethro Tull Toppled Metallica for a Grammy Upset By Michael Escoto Thursday, Jun 9 2011 One of the best moments on The Simpsons was in a 1993 episode in which we learned that Homer, Principal Skinner, Barney, and Apu were in a barbershop quartet called The Be Sharps. The group was so good that they won a Grammy award for best "Barbershop Quartet Album." At one point, Homer doesn't have change to tip a bellboy, so he offers him his Grammy statue. The bellboy, after seeing it's a Grammy, throws it off a balcony, and an off-screen voice yells, "Hey, don't throw your garbage down here." Yeah, it was a sick burn. Some 18 years later, most people's opinion of the Grammys hasn't changed much. Most journalists and musicians consider the annual award ceremony to be out of touch, and the reputation is somewhat deserved. That's not to say voters don't occasionally get it right. Sometimes, hindsight changes our perception of whether they got it right or not. After all, it seems pretty crazy to think Milli Vanilli would ever get a Grammy now, but in 1990, it probably wasn't so far-fetched. Sometimes, though, the Grammys simply get it wrong. Dead wrong. After a three-year break, Jethro Tull released Crest of a Knave in 1987. For the most part, Jethro Tull was known as a blues-rock band that occasionally added elements of folk music to their songs. They're also one of the few rock bands to heavily incorporate flute in their sound. On Crest of a Knave, the band attempted to go in a beefier direction, with more electric-guitar-driven rock. Still, calling the album "hard rock" was a stretch. Crest was harder than Aqualung or Thick as a Brick, to be sure, but not by much. The following year, Metallica released its fourth album (and the first after bassist Cliff Burton's death), . . . And Justice for All. The record is largely considered by most fans to be one of their best albums. And thanks in large part to MTV's heavy rotation of the video for "One," it was also the record that helped launch them into the mainstream. On paper, these two albums, Crest of a Knave and . . . And Justice for All, couldn't be more different. One record was essentially the very definition of "heavy," and the other, well, it featured someone playing the flute. Ask any metalhead, and he will tell you there is nothing "heavy" about the flute. Despite their dissimilarities, in 1989, both Metallica and Jethro Tull found themselves nominated at the 31st Grammy Awards in the "Best Hard Rock/Metal" category (it was also the first year the category existed). Also nominated that year were AC/DC, Iggy Pop, and Jane's Addiction. Metallica was clearly the favorite to win. Even Jethro Tull thought so — they were so convinced they had no chance to win that no one from the band showed up to accept the award from presenters Alice Cooper and Lita Ford. In all fairness to Jethro Tull, Crest of a Knave isn't a bad record; it just doesn't really belong in the same category as . . . And Justice for All. Though the decision to give the award to Jethro Tull instead of Metallica didn't make any sense at all, both bands seemed to have a good amount of fun with it afterwards. Metallica added "Grammy Award LOSERS" to subsequent pressings of . . . And Justice for All. Jethro Tull took out an ad in Billboard magazine with a picture of a flute and the words "The flute is a heavy, metal instrument." The Grammy for Crest remains Jethro Tull's only one, but the win remains one of the most memorable in Grammy history. After all, how many bands can say they were more metal than Metallica, if only for one night?
I love this live version of heavy horses http://raylomus.com/LIVE_Watchers_of_the_Storm1979/HEAVYHORSESfull.mp3
Jethro Tull/Ian Anderson Visits FOX 10 http://www.myfoxphoenix.com/dpp/morning_show/jethro-tull-visits-fox-10-06102011
http://www.signonsandiego.com/news/2011/jun/09/jethro-tulls-aqualung-anniversary-tour-here-sunday/ EXCLUSIVE Interview: Ian Anderson of Jethro Tull Talks About Aqualung, His Duet with an Astronaut and Why He Doesn't Attend Concerts By Jena Ardell, Fri., Jun. 10 2011 at 7:47 AM Categories: Interview In 1967, Ian Anderson traded a Fender Stratocaster that previously belonged to Lemmy from Motorhead for a flute, since he felt he would never be as good of a guitar player as Eric Clapton. The rest is history. We caught up with Anderson to chat about the album Aqualung (he does not like the cover art to Aqualung, calling it "messy," and did not appreciate how the "dribbly-nosed voyeur" seemed to resemble him), where he likes to go in L.A., and why Prince baffles him. L.A. Weekly: When you were writing songs for Aqualung, was your goal to inspire change or were you just observing and recording the attitudes of people around you? Ian Anderson: Well, I certainly never set out to try and inspire or coerce change in other people. All you do is you reflect what you see and what you interpret from the things around you. I'm very much an observer and a conduit of thoughts and ideas. I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me. Whether they are whimsical and musing moments like songs "Mother Goose or "Up to Me" or whether they are more serious or angry topics like "My God" or "Aqualung." Do you feel that society still views the homeless or unfortunate in the same negative light as they did in the 1970s or do you think we've progressed past that? I think we always view people who make us feel uncomfortable and appear to intrude on our middle-class cozy space, we view them with, if not hostility, at least suspicion, discomfort, embarrassment. We should recognize that we're a little bit embarrassed about other people's misfortune and try to come to terms with that ourselves, whether it's by showing some act of kindness or some act of giving in the case of homeless people. But I still find it awkward to approach a homeless person and give them some money. It's difficult. Sitting on my desk now is a begging letter from one of Britain's better-known charities for the homeless. I'm constantly reminded when I sing the song "Aqualung" onstage every night that these things don't go away. The plight of the homeless in your country and in mine is just as prevalent and upsetting as it was 40 years ago when I wrote that song. You've said what you do for a living doesn't appeal to you and that you don't like loud music so you would never be in your own audience--does that mean you don't attend concerts of other bands? (Laughs) It does mean that. I don't like to go where there is a lot of noise of any sort. I've always been fond of acoustic music. When I was a teenager, I was listening to blues and jazz ... and I was never really a fan of pop music and electric guitars. After two hours onstage, making rather a lot of noise, I'm quite happy to spend the rest of the 22 hours of each day in quietness and don't really relish the thought of going to a concert to watch anybody else perform. So I'm not a great listener of music at all. I read books and I look at paintings more than I listen to music. I think the rest of the day I value because I don't have the music, which it becomes seductive and exciting to get back on the stage and start playing music again. The last thing I would want to do is to go and listen to other people play music. Reportedly Prince famously, after his concerts, would go off to some club and get up onstage and jam at the club and stay up till all hours doing yet more music. I find that quite hard to imagine how someone could devote so many hours in their day to doing something I feel as best concentrated and focused on in a finite period. The best things take a couple of hours--some of the best things can be done in even less time. At this point in your career, I imagine you have accomplished most, if not all, of your goals. So what drives or motivates you to continue making music? Just in the next few days alone, I have three different kinds of concerts that I am playing and that in itself makes it engaging and interesting because you have to change your approach to making the music to some degree to accommodate playing with some musicians I have never played before in the Czech Republic to playing in a multi-act festival, which I am not very good at and don't really enjoy, but I have to make the best of that situation with no sound check and somewhat difficult and tense circumstances. Then I have to endure a long flight across the Atlantic... to land in mile-high Denver to play a concert in Red Rocks Arena in an altitude which makes things physically demanding and demanding as a flute player because in the relatively thin and dry air of the mountains above Denver, it's actually quite hard to play the flute. Every day is a bit different. I am playing in the mountains of Colorado one day and then flying down to Phoenix, Arizona in the desert--these are all a change of environment, and if we manage to find a Red Lobster on the way, or a Denny's, than that will just set things off a tree. How many flutes do you currently own? Are they something you collect over the years or do you buy and sell them as needed? I'm not a collector of them. I probably have more than I need, but I enjoy playing them all from time to time and the two that I take with me on any one tour aren't necessarily always the same two. I have many more guitars than I have flutes. One of my flutes I don't have at the moment because it's sitting in Houston awaiting shipment back to me because it's been aboard on the international space station for a few months and it recently arrived home after a few months, orbiting the earth every 90 minutes. That's interesting. How did that opportunity come about? Well, astronauts are not wacky people from outer space. Catherine Coleman of the U.S. Air Force, an astronaut who has been up there for the last six months, is an amateur flute player and she took one of my flutes up there with her and we did a little duet from space. I was in Perm in Russia on the 50th anniversary of the first man-flight in space by Yuri Gagarin and Catherine was aboard the space station. [You can watch the duet on youtube] Where do you like to go when you're in Los Angeles--are there any places you're looking forward to visiting? The Beverly probably is one that appeals (laughs) since it is usually a restful and reasonable respite; and my wife likes to have a walk around there and we sit and have a Starbucks. In days gone by, I occasionally went to The Comedy Store on Sunset, which was the frequent home of a comedian called Barry Diamond, who is a favorite of mine. I'm not a person who actually goes out very often. I try to get back to my hotel and go to sleep as soon as possible because I usually have to leave early the next day. When I am playing in Los Angeles at The Greek Theatre [on Saturday], it is simply to arrive on a flight, drive to The Greek; do a sound check; play a show; jump in the rental car and head off to the next [show] toward the San Diego area. I'll just be there for the few hours it takes to do a sound check and play a show and get the hell out of town! What is your secret for being able to remain in the music industry for over 40 years and front a band that is still touring? I don't think there's any secret to it at all. I think most of the people who do what I do don't really want to give it up. It's something that is a pretty good job if you can get it and, goodness knows, it's pretty hard to get that job these days. Most people would love to do what I do ... and most of us who got that job don't really want to give it up and pass it on to anybody else (laughs). So we're rather protective and jealous of our status of professional, working musicians and I don't think any time goes by when you're not reminded of how fortunate that you are to be able to do that on a professional basis. There will come a time when I can't do it anymore, after which, I may do it on an amateur basis for a little while until my physical and mental systems shut down and it's time to hit the power-off button in a clinic in Switzerland, or whatever happens to me. But until then, the excitement, the focus, the challenge of doing concerts, both physically and mentally, is always very engaging and as long as you're capable of meeting that challenge and finding that excitement and passion, you keep playing. Ian Anderson will be performing with Jethro Tull this Saturday, June 11, at The Greek Theatre in Hollywood. To mark the album "Aqualung's" 40th anniversary, the group will be performing the album in its entirety, plus other favorites. Tickets are still available, so grab 'em while you still can! Read more: http://thejethrotullboard.proboards.com/index.cgi?action=recent#ixzz1OyFryTHH
Aqualung is performed with Locomotive Breath last. List per kc: Agree with the improved vocals and band energy. Great night at Red Rocks. The set list: Thick as a brick Songs from the wood Farm on the freeway Bouree Aqualung Cross eyed Mary Cheap day return Mother goose Wondering aloud Up to me My god Jesus saves (Hymn 43) Slipstream Wind up Locomotive breath Read more: http://jethrotull.proboards.com/ind...ion=display&thread=1188&page=10#ixzz1OyQAUOPm
http://hmv.com/hmvweb/displayProductDetails.do?ctx=280;-1;-1;-1;-1&sku=842899 For those that are unaware, originally released on Papillon Records, Fuel 2000 & True North. J-tull Dot Com was re-released by EMI in November 2010. j-tull dot com review: http://www.progreviews.com/reviews/display.php?rev=jt-dot USA (Fuel 2000) Canada (True North) True North Records (Canada)
http://www.premierguitar.com/Magazi...Martin_Barre_Taking_Aqualung_on_the_Road.aspx Interview: Martin Barre - Taking Aqualung on the Road Max Mobley The Jethro Tull guitarist discusses his tools of the trade, touring, and how his first take recording of the Aqualung solo was almost interrupted by Jimmy Page. The rich and complex history of rock ’n’ roll, as expressed through the electric guitar, cannot be told authoritatively without the including the work of Jethro Tull guitarist Martin Barre. Barre's contributions are cataloged under classic Jethro Tull albums such as Aqualung, Thick as a Brick, and War Child to name a few. Tull, masterminded by writer/guitarist/vocalist/flutist Ian Anderson and supported by Barre's guitar work, added concepts and progressive riffs that expanded the electric guitar's boundaries established by British blues-rock—a genre that was in full bombastic bloom when Tull's Aqualung was released in 1971. In spite of any perceived under-recognition, Martin Barre's masterful solo on Aqualung's title track consistently pops up in the top five of nearly every “greatest guitar solos” list. The solo is a great example of Barre's contribution to the medium and it exemplifies what makes a great rock guitar solo—the suspenseful melodic build up that peaks with intensity, a gorgeous tone, soulful expressions that sink deep inside the listener, and technique without the slightest whiff of wankery. Jethro Tull is in the US for a summer tour, and the band is celebrating the 40th anniversary of Aqualung by playing the album live in its entirety. Anderson and Barre have been playing together so long that, as Barre puts it, "Even if we're playing a song we haven't done in ten years, Ian and I will remember what we did, and where we move. It's like we played it yesterday." Anderson and Barre are the only original members touring, and the first time they played together in preparation for the US tour was sound check at their first show at Red Rocks in Colorado. Visiting friends, family, and guitar shops in advance of the tour, Martin Barre sits down with Premier Guitar to talk gear, the tour, and his simple but effective approach to tone. Are you excited about the tour? To be honest, most tours are special and only a few are a pain in the ***. I don't like going to India because it's a very sad country, but I love playing in America. For me, America is really a second home and I can't even imagine how much time I've spent in here in the last 42 to 43 years. Playing Red Rocks will be great—I know where the dressing room is, I know the venue, I know Denver, and I know where to go for a run. I'll probably even recognize a few people in the crowd. I love playing anywhere—be it a small club in Germany, outdoors at a festival in Italy, or somewhere in America. It's always a labor of love. What gear will you be taking on the road for this tour? I'm just bringing my PRS 513s, which I've played for about 10 years, and a mandolin. Ian plays his acoustic, and for the few acoustic parts I play, I'll just use the 513. If I could, I would bring ten guitars on the road with me. But given the logistics of coming from England, it's not practical. I'll be using Soldano Decatone amps. I have a good relationship with Mike Soldano, and I think I’ve worked with that same amp for 20 years now—they always do a great job. I fly around the world with them and they get thrown about, but you turn them on and there you are—they sound exactly how you want them to. My favorite setup is a Decatone with a Marshall 2x12 and 1x12, running the 1x12 at the front of the stage like a monitor. I take both cabinets off the amp so I'm in the middle of the sound. That's all I use, it's really simple with three channels—clean, crunch, and distortion. Any effects or processing? I use a tiny little Alesis PicoVerb for a tiny bit of reverb. It's about the size of a pack of cigarettes. Picks and strings? I use quite a heavy pick so I've got lots of control, and they're made for me in England. I have a great guitar shop in the UK called Manson's and they build guitars as well. They're friends and do all my repairs, make me a coffee and feel at home when I come in. For strings, I use GHS 10-46s. Rumor has it that in early days of Jethro Tull, you used a Hornsby Skewes Treble Booster that picked up radio signals. Yeah—that's true and I've still got it! It's the worst bit of kit ever made. [Laughs.] You open it up and it's got just a few bare wires and a capacitor. They were virtually wireless receivers. There were so many gigs in America where we'd be playing downtown, and atop of the concert hall would be a radio mast—just a nightmare. I used to neurotically look out the window of the car on the way to gigs, watching out for radio masts. You have very pure tones on your recorded work. Do you use much processing or EQ in the studio? No, I don't use any EQ. I only want the sound of the guitar coming out of the amplifier—nothing else. When I go to any studio, I insist the EQ is either turned off or set to null. The tone on your solo work, while it doesn’t sound processed, is quite different from your tone with Jethro Tull. Well, in Jethro Tull, I get one or two hours and that's it. If I haven't got it by then, then my solo is going to be a flute solo. On my solo albums, I have the luxury of spending as much time as I want to experiment with different guitars, different sounds, and mics. It's a different process and there is no pressure. With Jethro Tull, there's always somebody waiting to record their part, so there is a bit of pressure on you. I don't spend a lot of time doing guitar parts, because I want them to be fresh. But I think that if something doesn't work in one or two takes, that bit of music doesn't work or you've got to completely rethink what you are doing. You can't just keep bashing away at the same idea. Do you prefer humbuckers or single-coils? I like to switch around and don't use one tone for very long—I go through the catalog of what's available. I always had a humbucker in the bridge and then a couple single-coils so I could get both the sweet Fender sound and the full-blown humbucker sound. When listening to Stevie Ray Vaughan and Robben Ford, you can really tell when they're digging in with their right hand. You get a different kind of compression on a single-coil than a humbucker. You can sort of overdrive it with your fingers—I love that sound. And I love that sound where you need to bite in to get that sustain. Speaking of single-coils, you used a 1958 Les Paul Junior on Aqualung. Why that guitar? We did a tour with Mountain. Back then, bands weren't particularly friendly with one another, and Mountain was the first band that we really became friends with. I just loved Leslie West's playing and they truly were a great “feel” band with the way they fed off each other live. He's probably the only guitarist who has influenced me directly. He played a Les Paul Junior, so that's why I bought mine. The solo on the song “Aqualung” has received as many accolades as any rock guitar solo in existence. Was that composed, one take, or a composite? It was a one-off and I did it first take. I've never learned licks—especially at that point of my career—and I never, ever used the blues licks. All the other guys were doing that and I wanted melody. In my mind, I can hear a melody, and then I can play it. That's what I've always loved about playing an instrument. You hear where you want to go in your head, and your fingers can go there for you—it's sort of a direct connection. I don't have any sort of hang-up about having to play a B.B. King or Freddie King lick. I love the blues as well, but in those days, it was a very free approach. I just played. Led Zeppelin was in the same studio as Jethro Tull when you were recording Aqualung. Did you guys ever drop in on each other's sessions? We were Led Zeppelin's support band in 1969. They were a wild bunch of guys as you can imagine, but we got along well enough. In the studio, we both got buried in our work for some reason. I hadn't seen Jimmy Page in over a month in the studio, but when I was doing the solo for “Aqualung,” he coincidentally decided to come upstairs and say hello. I was in the middle of the solo and he was in the control room waving at me. I thought if I waved back, I'd have to play the solo again. So I just carried on playing and grinned, and that was the solo used on the album. Your audition for Jethro Tull went badly. What happened? It was in this huge basement room. For some reason, they had a drum kit and an amp in the middle of the room, and all the guys auditioning sat in chairs all the way around the room. There were like 30 or 40 guitarists waiting for their turn to play, and everybody was watching everybody else. It was just horrible and I don't think anyone could play well under those circumstances. It was so much pressure and I played awful. Yet you got the gig. Because I read the music press in England, and a couple of weeks went by with no news, I had a feeling that Ian hadn't found anybody. I called him, asked if he had found someone, and he said he had—Tony Iommi. But Tony had an accident in a factory, and the tops of his fingers were cut off. He couldn't play many complex chords, but fortunately for Tony, he did go on to make it huge with Black Sabbath. Since he couldn't do the Tull gig, I asked Ian if I could have another go and he said yeah. This time was just me and the band spending a whole day of playing together. Obviously, that went a lot better. Ian wanted a guitarist that with no pre-conceived style. He didn't want a blues guitarist. He had already had one in Mick Abrahams, who went on to form Blodwyn Pig. Ian wanted someone with an open mind who would try stuff out and go to a different place without questioning it. So it worked out perfectly. As a self-taught guitar player, how were the complex parts that make up a Jethro Tull song communicated? I knew everything they knew. I was taught flute professionally before I joined Jethro Tull, so I could read music and I understood music. We were all at the same level musically. I was in the middle of the solo and [Jimmy Page] was in the control room waving at me. I thought if I waved back, I'd have to play the solo again. So I just carried on playing and grinned, and that was the solo used on the album. Talking about your early rock ’n’ roll days in the late ’60s, you said there were two types of players—those in the Gibson camp, and those in the Fender camp. Can you elaborate on that? At that age, it was a style thing. If your favorite player played a certain guitar, that’s what you aspired to. There was no real advantage of one over the other from the information we had about guitars back then. Once you've gone down the Gibson road, that sort of neck profile and design stuck with you. But by the mid-’70s, I was playing Fenders as well. By then I was more aware of what you could get out of the instruments. At that time, many guitarists wanted both because they wanted to expand their library of sounds. What drove that shift from traditional electrics? I met and got to know Paul Hamer. Paul used to come around to all the big rock bands and sell vintage guitars. When he started building his guitars, he brought one to a show for me to try out. At the time, my Les Pauls were becoming so valuable that I didn't want to take them on the road—so the Hamers were a perfect replacement. They played like a Les Paul, they sounded good, and if you lost one, you could get another one. It was also a relationship thing. I got to like Paul so much that I wanted to support him. When Paul left Hamer, I played Tom Anderson and Ibanez guitars for a short time, and then Mansons, Schecters, and Fenders. Now, I’m playing PRS. All these people I've dealt with have been really good people—Tom Anderson, the guys at PRS—we got along so well. I never asked for anything—we all just had a common love of music and a love of good guitars. That's why I use them and why I've got a lot of them. I've bought most of my guitars from a local shop in England. Many established players prefer vintage guitars. Like your guitar work, you tend to go your own way on that trend. I don't tend to play vintage guitars and I only own a couple—they aren’t practical. Vintage guitars are a bit more temperamental, but I do appreciate them. There's this guitar shop in Mississippi where the guy in the shop—an older guy—has a huge collection. I’ll go to his house, sort of dive through his cupboards, and I always find something nice in there. I bought a blonde Gibson ES-140 3/4 from him, and on this last visit, I got a 1962 Gibson mandolin. Inevitably, I always compare myself to somebody like a carpenter with a toolbox. He's got his favorite tools, and they're not valuable other than being able to perform the task he asks of them. That's like me with guitars. I ask a lot of them, and put them through a lot of adverse conditions and temperature changes when touring. I ask them to sound perfect every night, and if they do, then I have a great respect for them. Listen to someone like Jeff Beck. He can play any guitar through any amp, and he will still sound like Jeff Beck. Guitars are tools. Martin Barre’s Gearbox Guitars Paul Reed Smith RS 513 Amps Soldano Decatone Marshall 2x12 and 1x12 cabs Effects Alesis PicoVerb Strings GHS
I enjoy the live albums in this order: Bursting Out A Little Light Music Nothing Is Easy Live At Montreux 2003 Living With The Past Live At The Hammersmith In Concert Aqualung Live
Ian Anderson: Jethro Tull’s “Ordinary” Rock & Roll Legend By: Marc Shapiro | Jun 28, 2011 Read more: http://backpagemagazine.com/jethr-tull-ian-anderson-jethro-tulls-ordinary-rock-roll-legend/ BPM: What were your feelings when you went into the studio to record Aqualung? IA: I certainly hoped that it would be something special because, at the time, it was a make or break album for us. Jethro Tull had modest success with its first three albums and we were beginning to achieve some level of success as live performers. But we really needed an album that was going to nail it or it could have marked the beginning of a slippery slope to oblivion. For me it was an important album and it was also a pretty difficult album to make. BPM: How was it difficult? IA: We were recording in a brand new and unproven studio. The acoustics were difficult and there were numerous technical issues to deal with. I felt pretty comfortable with the songs but some of them were quite difficult to record. The two prime tracks, Aqualung and Locomotive Breath were pretty strong songs in different ways. The song My God was also quite strong. But I wasn’t quite sure if, sonically, they were working out. I felt the songs were good, the arrangements were good and the performances were okay. It just was not proving to be a very easy album to make. I was quite nervous until the album was released and the response from critics and fans was largely positive. BPM: So Aqualung was finally an instant success to your way of thinking? IA: It was anything but. The album was not an instant success straight out of the box. It sold modestly over a period of many years. But sales grew because we were constantly touring and we played many of the songs in the album from our set. At the end of the day, Aqualung has had its life as a record but more importantly, it was the strength of the songs.
WARNING!!!!!!!! The Cup Of Wonder (lyrics+) site could infect your computer with BlackHole toolkit. Don't go there unless your computer is well protected. Symantec Warns: BlackHole toolkit is spreading like wildfire BlackHole Toolkit: Malware Running Wild http://www.stopthehacker.com/2011/05/31/blackhole-toolkit/ Read more: http://thejethrotullboard.proboards...&board=links&thread=1890&page=1#ixzz1U4bsmAli
Tull Nods Boston Magazines's Boston Daily Will the Real Steve Carell Please Stand Up? http://blogs.bostonmagazine.com/boston_daily/2011/07/28/real-steve-carell-stand-up/ The Vulture Transcript: Joe Piscopo Dissects His Career, From SNL to the Buff Era and Beyond http://nymag.com/daily/entertainment/2011/08/joe_piscopo_interview_eddie_mu.html
I don't think Steve Carrel's memory is accurate. He is a year youngher than I am (he grew up about 12 miles from me) and I went to the 1978 Heavy Horses concert at the Boston Garden at the age of 15. Steve would have been only 11 or so to have caught the Minstrel in the Gallery Tour. Still, I'm glad he is a fan.
Hampton Beach Casino Ballroom creates ‘Hall of Fame’ http://www.unionleader.com/article/20110804/NEWHAMPSHIRE/110809959
No better band Looking forward to the Aqualung remaster. It better have extra songs such as Dr Bogenbroom For Later Life is a long song(remix) Up the pool Wondring again Nursie My god(quad) Locomotive breath(quad) Wind up(quad) Lick your fingers clean That's a whole album alone probably better than the original album
