martes, 22 de noviembre de 2011



By Jeb Wright. For over 42 years members of Jethro Tull have come and gone like a revolving door. Only bandleader Ian Anderson has been with the band for every album. After Tull’s debut, This Was, Anderson made the first of many sackings in his band, guitarist Mick Abrahams had to go. The pair were butting heads over the direction Jethro Tull should pursue, with Abrahams pushing for a more guitar oriented blues approach. Anderson had other visions and, in the end, he remained.
Martin Barre was recruited to replace Abrahams as the band went into the studio to work on their second album, Stand Up, which sowed the seeds of what would become the classic mix of flute and guitar that became the Jethro Tull sound. Barre fit in well and began to contribute more on Tull’s third release, Benefit, as the band began to experience commercial success around the globe.
It was the next album, however, Aqualung, that broke the band huge and enabled them to be one of the most successful and unique, bands in the rock genre. Songs like “Aqualung,” “Cross Eyed Mary,” “Locomotive Breath” and “Hymm 43” rocked harder than Tull had ever rocked. The team of Anderson/Barre matured. Over the years, band members were cast aside, seemingly at Anderson’s whim, only Barre would remain.
Now, over four decades later, the classic Aqualung album has turned 40 years old. To celebrate that fact, EMI has released a two-disc version of the album with a bonus disc of other recordings made at the same time, as well as a deluxe version for the hardcore Tull fan, which includes a the CDS, a vinyl version of the album and a book.
Martin met with Classic Rock Revisited to discuss the making of the album. He revealed the difficulty the band had recording the album and the creative process behind the songs. During the interview, however, Barre shocked us by revealing that there are no plans for anymore Jethro Tull albums or tours at this time. When asked if the band was no more Barre could only say, “I don’t know.”
While the future of Jethro Tull with both Ian Anderson and Martin Barre in the band is up in the air, Barre is not staying at home and watching morning talk shows. He has assembled a band to tour Europe and play his solo music. He is also working on a worldwide tour with another band he is putting together that will play only Jethro Tull music. Barre promises that many of the songs performed will be tunes that have not been performed by Tull in many, many years. Ian Anderson has announced he will also do a solo tour performing the classic Thick as a Brick in its entirety.
While the future of Tull may be up in the air, the past is firmly cemented in solid bedrock. Read on to learn about the classic Aqualung and learn where the guitarist is headed in 2012.

Jeb: It’s hard to believe Aqualung is 40 years old. You’re used to anniversaries but the number 40 really jumps out at you. Martin: These numbers come up and they’re like birthdays. When you have your 40th birthday it’s like, ‘WHOA!” Then 50 is a big one and 60 is a big one but after that is 65, which is huge. I would imagine that after that you just go to 66 and then 67, as each one gets bigger the older you get; each day becomes an anniversary as you’re just happy to be alive.
The thrill of the album’s anniversary dulls a bit because after this year will be the 40th anniversary of Thick as a Brick, and the following year, Passion Play. I’m very proud but I have trouble getting too excited.
Jeb: When the big 10’s come up, like 40 years, it does give the fans a chance to look back and remember why that album was so special to them. Martin: The packages are very nicely put together and they’re great for the fans. Jethro Tull has never patted ourselves on the back, ever. We’ve never gone down to the pub and said, “It’s been forty years; pour me a glass of champagne.”
It’s a shame because we’re living in an age where everything is expendable. We don’t have a record company anymore. EMI deal with the back catalog but I’ve never talked to them. It is all very removed from the days when you would go to the record company in New York, or LA, and you would go to the office and know everybody. You would leave the building with armfuls of everybody else’s records. It was very personalized then but now, most of the record companies I deal with have gone bankrupt. They just don’t exist anymore. If they do, then they don’t have any money. There is not a lot of celebrating anymore. For me, the celebrating I do is when I walk into the studio, pick up my guitar and play something and think, “Yeah, that’s nice.”
I am proud of the albums and the history and it does mean a lot, however, it is what I’m doing today and what I’m going to do tomorrow that is really important for me.
Jeb: Jethro Tull is one band that has never worried about sales, style, what is in vogue or anything else; Tull makes the music the most important thing. You have a fan base that will accept whatever Tull does, not that they always like it, but they give it a fair listen. Martin: They are amazing and we’ve made them put up with some weird stuff over the years. They patiently sat through it. I guess because of them, we have license to change directions, which is great. If you don’t do that, you get so bogged down in a style that it gets hard to survive. Luckily, Ian and I both love writing music. I am writing music now. Sometimes, in the back of your mind you wonder, “Have I lost it?” I then play and play and play until I go, “Yeah, I did it; I’ve still got it.” I just love that. While I like it, that is still not what matters most, as you’ve got to get a few thousand other people to like it as well. Jethro Tull’s fans have given us the opportunity to do a lot of stuff. They allow us to do solo projects and to play with other people. We are able to take the music to a lot of places that fans of other bands may not have allowed them to take it; it’s great.
Jeb: Ian Anderson and Martin Barre have been the two members of Tull since the second album when you joined. To my ear, Aqualung has more and more of your guitar. The electric songs “Cross Eyed Mary,” “Aqualung” and “Hymm 43” really seem to show you getting more involved with the songs than the two albums you were previously on, Benefit and Stand Up.” Martin: On Stand Up, I was terrified because I had just joined the band. It really showed a change in direction for the band and when it was accepted and became a successful album, we gained a lot of confidence. We extended that confidence into the making of Benefit, in which we were a lot more at ease. Ian was still writing the songs on guitar at the time.
When Aqualung came out, Ian would show me what he had written and then we would play it. His flute playing was very much in proportion with the guitar. Obviously, I’m biased but when you jump forward 40 years things have changed.
Jethro Tull did their last show for quite a while in July. I have started playing my solo material again and I’ve got a few projects I am working on. The amazing thing is that I’ve started playing half of my material and half of this French guy’s material; I have so much to do in this project. I love arranging music and playing with great musicians. I like saying, ‘Try this” and they say, “Try that?” I tell them to just try it and they go, “Wow.” To me, when it works out then that is the greatest thing about writing and arranging music; it is the icing on the cake. I have been having a lot of fun.
I suddenly realized how little guitar I was playing in Jethro Tull and how little I had to do. I was taking a bit of a backseat, which is never a good thing. I was not having to work very hard, and I like to work hard.

Jeb: On Aqualung, were you sharing ideas with Ian or was he very much the conductor? Martin: He was driving but I was in the front seat of the same car. We all had ideas and everybody listened to each other’s thoughts on the songs. Everybody had input into the making of the album. It hasn’t always been that way, but in the early days it was that way. We tried to find ways to play the music and to interrupt what Jethro Tull was, not one person could do that. We tried to make Jethro Tull take a specific direction. Ian had a lot to do with it but we all had important roles to play. Over the years, that got diluted and certain concepts took over. Keyboards became too important, or electronic drums became too important. Over the years, the computer has become too important. These things diluted the Jethro Tull sound, which is really made up of flute and guitar songs. It disappeared because we got bogged down by looking at a bloody computer screen. I hate it but you have to do it.
I refuse to record like that. I play live in the studio. I can’t deal with people saying, “I can fix that.” You sit there for twenty minutes while he looks at a computer screen. In that time, you could have done it again and instead you’re watching a screen. That is not making music, as the essential thing, when you do a performance on an instrument, are the imperfections. All of the grunts and farts are lost. If you lose those elements then you sterilize the music.
Jeb: I have to ask you, because this is Aqualung’s 40th, about playing those big opening notes to the title track. Martin: Ian wrote that riff and I wrote the guitar solo. In those days, the riff was often the main part of the song like “Aqualung” or “Cross Eyed Mary.” Ian wrote those riffs and they would be the basis of the song. It made it very much Jethro Tull and the songs and guitar riff were very important to the sound.
I once did a solo tour, and I used a guitar player, whose name I’m not going to mention, and when he played “My God” he would bend one of the notes sharp in the riff and I about died because that riff didn’t need interpreting because it is what it is. It is really simple and it worked. Why did it work? Because it was simple and that is the hard thing when playing live. You record it and it is something that is simple and works but you’ve got to hold on to that when you recreate it. I’ve got to make sure that when I play, I play it correctly. When somebody else plays these riffs, to me, it just doesn’t sound the same. It could be a virtuoso but it won’t sound the same. I have worked with some fantastic musicians but they all share the same inability to play simple. Jimi Hendrix could play one note and you would know immediately who it was.

Jeb: The solo on “Aqualung,” did you do that in parts or did you wing it? Martin: I winged it. I remember a long time ago meeting somebody in the dressing room and they were playing all of the solos from “Nothing is Easy.” Over the years, I had changed it a bit, as you do. Hearing him play it I realized that it didn’t need changing. The way it was on the record was fine. It was not great and it was not Steve Vai or Joe Satriani, but it was the way that it ought to be.
Jeb: You talked about simplicity and that brings me to “Hymm 43” and the part where you scratch the pick on the strings while your fret hand mutes the strings. You also do that on “Locomotive Breath.” You didn’t invent that technique but like all things Tull you placed it in the song perfectly. Martin: Just last week I was playing “Locomotive Breath” and the other guitar player improvised and he played the riff differently and I was thinking, “No, that’s not it.” I was onstage so I couldn’t tell him how it should be. He was doing it the way he heard it but it was not the way that it was supposed to be.
Jethro Tull was a very isolated band; we didn’t mix with other bands. We didn’t copy things because we didn’t listen to their music. Some of the ideas were fresh because there were really no influences at all.
Jeb: Ian has said that the studio was difficult to work in because it was a converted church. You were the first band to record in that studio. Martin: The gear kept breaking down and we would have to sit there for hours while they fixed it, which was very frustrating. It was a very hard and stressful album to make. We didn’t just plug in and the magic happened; it was very hard work. It was very difficult to get all of the backing tracks done. It ended up being a very important album. Another Jethro Tull album, Under Wraps, fell into place very quickly but it is probably the least important album we ever made. There is no telling what’s going to happen.
I remember reading about when the Beatles made Abbey Road. They were arguing all the time and they had many problems recording the album. It has great songs on it and was a wonderful album but it was very hard for them to make.
Jeb: Led Zeppelin came in to the same studio to record IV while Tull was recording Aqualung. Have you ever thought back that on the same spot on the earth two incredible albums that changed rock music forever were being recorded at the same time?Martin: The atmosphere in that studio was terrible. It was an old church; it was not some amazing studio in LA or New York. We were isolated in the studio from Led Zeppelin. We only even ran into them once, and that was in the kitchen. We had absolutely no connection with them and I don’t even know if they had an easy time making their album or not. The atmosphere we were under was not good. We never went, “Let’s go over and see what Led Zeppelin are doing” because we were all working very hard trying to get our album recorded. It was really hard work.
Jeb: When the album was done did you have any thoughts that this album would become as huge as it did? Martin: Not at all. I think it was really a snowball that was rolling down a hill in those days. We would go out and tour, then do Madison Square Garden and get presented with a Gold disc and then keep on touring. It was endless. We never got over the top in our behavior because we were working so hard. We never entered the ‘rock star’ world. We never had time to sit back and say, “That was great.” We were expected to continue being great and make another great album. We never sat on our laurels, ever.
Jeb: Tell me about the solo dates you are going to be doing and if there are plans for any solo releases. Martin: The idea is to do a compilation of acoustic versions of Tull songs. I would like to do some of the very melodic, acoustic songs from Tull that rarely get noticed. I am writing new music with my solo band and it will be part of it as well. I would like to include a compilation from my first solo album and include some tracks that got buried when they were first released. I am working on a book and I would love to make an album and give it away as a freebie with it.
I have lots of music and a lot of good ideas and I am going to have the time to do something with them. Jethro Tull is on ice for the foreseeable future, as Ian is doing a solo tour. I am trying to plan my life and project forward for the next couple of years. I am doing a solo tour in Europe and England where I will play a compilation of my music. Next up, I have a project that I want to bring everywhere. This will be a band setting but I can’t yet mention names of who will be in the band. We will be playing purely Jethro Tull material.
Jeb: Will these be different versions of Tull songs? Martin: No, it is going to be pure Tull. I want to get back to the simplicity of the early songs that we haven’t done for a long time. There will be no keyboards. It will be straightforward and we will be playing tracks that have not been played for many, many years.
Jeb: This sounds exciting. May I recommend you play “To Cry You a Song”?Martin: Don’t worry, because that song will be played.
Jeb: Did you discuss this tour with Ian? Is he okay with you doing this? Martin: We’re very separate in what we are doing at this time. There is really no need to discuss it because I know what I want to do and I’m going to do it; that’s the end of it. I’m not going to change it because of what anybody says. I just know what I need to do and I’m very determined, and very focused, to make what I want to do happen.
Jeb: I thought the next Jethro Tull tour would see the band playing Thick as a Brick in its entirety. Martin: Ian will be doing that; it will not be me.
Jeb: Tull really is taking some time off. I guess that has been a long time coming. Martin: It has been a long time. It has happened and I’ve had to adapt. It might be a disappointment to some. You’ve just got to turn that disappointment around and make it something positive. Since that is not going to happen, then I will make this happen and I will make this more important.
Jeb: Are saying Jethro Tull is over or just taking a break? Martin: I don’t know. The music of Tull is my life. I have not only the right to play it but also the will and passion to play it—a passion play, if you will. It is very natural for me to do what I’m going to do.
There is no question that I know my part in the history of Jethro Tull and that means something to me. It is very, very important to me. It might not be to everybody, as there are those who don’t even know who I am when I’m onstage, but to me, it is a huge place in my life. I have 42 and a half years invested in the music of Jethro Tull and I can’t simply turn that off. I don’t want to quit. I don’t care what anybody else thinks of me, right now, this is me, this is my heritage and this is what I want to do and I’m going to do it.
Jeb: Don’t feel too badly Martin, a lot of people think Jethro Tull is the guy onstage. Martin: They really do. The image for Jethro Tull really is the guy on one leg. The silhouette is the image and it is a very good image. It has never been a problem in my mind because that image is vital to promoting the band.
Jeb: Anyone that is worth their salt as a Jethro Tull fan knows who Martin Barre is and you’re very important to the fans view of the music. Martin: The thing that is going to happen is that there are going to be two tribute bands on the road; Ian’s solo band and mine. We will not be playing the same music. I don’t think it will be a problem because Ian wants to sing less and play more. I want to go back to the roots and recreate the atmosphere of the early to mid 1970’s and that style of live band. Tull was an exciting live band back then with lots of energy. There was a lot of technique and power and that is what I want to do. Ian and I are not going after the same thing.
Jeb: Last one: I guess I will have to wait for the day to see you and Ian do a flute battle on stage because you will not be in the same band. Martin: I’ve started to play the flute again. I don’t play enough to be a good flute player but I did play the flute even before I met Ian.
My band that will do the Tull music includes an incredible flute player. He’s an absolute virtuoso in the Irish style of flute playing. I think people will really enjoy it. As far as the music of Jethro Tull goes, I can play that. I think I will be able to get away with it. It’s not a token gesture and it’s relevant because I have played flute on stage and I’ve played flute on albums. It is not a cheesy thing of someone doing something they shouldn’t be doing. I know that it will work.

sábado, 22 de octubre de 2011


Hi and welcome to the autumn Jethro Tull Forum update.
We´re pleased to announce that Dee Palmer has joined the Forum and is more than happy to answer questions from you all.   More details at:

The Forum’s youtube channel is going from strength to strength.   As well as the videos mentioned previously in update news-emails, we now have the complete 40th Anniversary Aqualung radio show with David Gans, Ian Anderson and our very own Bernie Kellman, and also Natalie Holt performing and playing viola with her song “Nightingale”, aided and assisted by John O’Hara and Ian Anderson, from the solo tour in September of this year.
A reminder, should you need one, that at the end of this month Aqualung is re-released complete with large illustrated book, blue ray and dvd (audio) discs together with 2 cds and a  reproduction copy of the original vinyl album.   Many internet outlets are advertising this release for sale including Amazon and Play.com.
Martin Barre is on tour with the French guitarist Pat O’May at the end of this month with the promise of further dates later in the year.  Dates advertised so far are listed on the Forum and also on the Jethro Tull official site.
Until next time.
Graham, Patti, Bernie & John

jueves, 29 de septiembre de 2011

Jethro Tull - 1976-04-26 - Too Old To Rock´n´Roll: Too Young To Die!. The Film

Jethro Tull - 1976-04-26 - Too Old Too Rock´n´Roll: Too Young To Die!. The Film(DVD5/pro-shot).

DVD5 : 2.52 GB
Media : Proshot
Menu/Chapters : Yes/Yes
Duration : 00h43mn47s
Picture Quality  : A-
Sound Quality : A-
Video Info
Format : PAL
Frame rate : 25.000 fps
Width : 720 pixels
Height : 576 pixels
Format : AC3
Bit rate : 448 Kbps
Channels (s) : 2 Channels
Sampling rate : 48.0 Khz
DVD Cover Front included
Quizz Kid.
Crazed Institution.
Taxi Grab.
From A Dead Beat To An Old Greaser.
Bad Eyed And Loveless.
Big Dipper.
Too Old To Rock 'N Roll: Too Young To Die.
Pied Piper.
The Chequered Flag. 


martes, 27 de septiembre de 2011


Jethro Tull - The Minstrel Looks Back Live 1969 - 1977 (2008) (2xDVD5)
Video Format: NTSC/4:3
Frame rate: 29.970 fps
Width: 720 pixels
Height: 480 pixels

Audio Format: AC3
Bit rate: 448/224 Kbps
Channels (s): 2 Channels
Sampling rate: 48.0 Khz

Size Disc 1: 4.27 GB
Size Disc 2: 4.16 GB

Media: Proshot
Menu/Chapters: Yes/Yes

Live in Tampa Stadium, Tampa, Florida USA - 31 July 1976
01 - Thick as a brick (excerpt)
02 - Wond'ring aloud
03 - Crazed institution
04 - Instrumental/drum solo
05 - To cry you a song
06 - A new day yesterday
07 - Flute solo
08 - Living in the past/Brick instrumental/A new day yesterday reprise
09 - Too old to rock 'n' roll too young to die
10 - Mintrel in the gallery
11 - Beethoven's ninth symphony (excerpt)

Beat Club, German TV 1970
01 - With you there to help me/By kind permission of - jam
02 - Nothing is Easy

Bonus Footage
Live at the Fillmore East, for a thousand mothers, 1970
Swedish TV January 9, 1969
01 - To be sad is a mad way to be
02 - Back to the family

Bonus footage
01 - Bouree, promo video, 1969
02 - A song for Jeffrey, Johnny Halliday show, 15 aprile 1969

Live at Golders Green London Hippodrome, February 10, 1977
01 - Skating away on the thin ice of a new day
02 - Jack in the green
03 - Thick as a brick (excerpt)
04 - Songs from the wood
05 - Velvet green
06 - Hunting girl
07 - Aqualung
08 - Wind up
09 - Locomotive breath
10 - Ending credits

Live at the Tanglewood Music Fair, July 2, 1970
01 - Nothing is easy
02 - My God
03 - With you there to help me
04 - Dharma for one
05 - We used to know
06 - Guitar solo

Bonus footage
Witch's promise, BBC 1970
The minstrel years 1971-1975 aka The Jeffrey Hammond - Hammond Era
01 - Life's a long song, promo video, 1971
02 - Thick as a brick, Rochester, New York, USA, 1972
03 - A passion play, 1973
04 - The hare who lost his spectacles, 1973
05 - The minstrel in the gallery, Parisi 1975

A little more music...
01 - Teacher, promotional video for the French TV, 1970
02 - Witch's Promise, promotional video for the French TV, 1970
03 - Too old to rock 'n' Roll, Too Young to Die, 1980
04 - Living in the past, mixed with 1976 footage


martes, 20 de septiembre de 2011


JETHRO TULL-"BACH ROCK"-International Congress Centrum, BERLIN ICC, 16/3/1985 Upgraded Version
Taken from a German TV Rebroadcast of the Jethro Tull set
at The BACH TRICENTENARY concert in Berlin, 16.03.85

Video_TS Copied directly from a trade DVD-R
The picture is OK from VHS… but sound is excellent
REMASTERED 2006 Version - Fully indexed - approx 72 min.
1985 saw just one Jethro Tull concert, but this one was indeed a very special one. Tull were invited to play of the festivities for J. S. Bach´s 300th birthday in Berlin. The band hadn´t played for around one year, and reunited with Eddie Jobson especially for this concert. Tull played more classical sounding tunes, like "Elegy" or "Serenade to a cuckoo", as well as, of course, their version of "Bouree". The very special high point was the rendition of Ba ch´s "Double Violin Concerto" that featured brilliant electric violin and keyboards played by Eddie Jobson, and (very funny) the "Happy Birthday" song. The concert was broadcasted on television and radio. BLUE EYES.
Jethro Tull Line Up:
Ian Anderson
Martin Barre
Dave Pegg
Doane Perry
Eddie Jobson

01. Black Sunday
02. Hunting Girl
03. Elegy
04. Living In The Past
05. Serenade To A Cuckoo
06. Too Old To Rock 'N Roll
07. Wondr'ing Aloud
08. Bouree/Kelpie
09. Bach's Double Violin Concerto/Happy Birthday
10. Aqualung
11. Locomotive Breath
12. Thick As A Brick reprise.

Thanks to BOOTS LIVE  (password: bootslive.blogspot.com)

jueves, 15 de septiembre de 2011



Click image for details of "Excalibur"
12th September 2011
I have received many emails about the upcoming Thick as a Brick
 tour and album.
I will not be involved with these projects; they are
 Ian Anderson solo works and, as such, I won't be playing.
For any disappointed fans, you will have to wait
 'till next year, when i will debut my new band.
I have most the musicians lined up and i promise
 you a great show; I am very excited and extremely
In the meantime i have an excellent company working
 on revamping my website and setting up
 Facebook/Twitter and YouTube pages... it will be
finished soon and then i will tell you my plans for the future!
Thank you for your patience and understanding.
Martin Barre
He recibido muchos emails sobre el futuro tour y
 album de Thick as a brick.
No formaré parte de estos proyectos; son trabajos
en solitario de Ian Anderson, y, por lo tanto, no actuaré en ellos.
Para aquellos fans algo disgustados, tendreis que
esperar al próximo año, donde haré debutar a mi
nueva banda.
Ya tengo contratados a la mayoria de musicos que
estarán en ella, y os prometo un gran espectaculo;
estoy muy motivado y extremadamente entusiasta!!.
Mientras, tengo una excelente compañia que está
 mejorando mi pagina web, donde encontrarás
enlaces a paginas de Facebook, Twitter o
You tube...pronto estará terminada y entonces
os contaré mis planes de futuro!
Gracias por vuestra paciencia y apoyo.
Martin Barre.

lunes, 5 de septiembre de 2011


La revista mensual dedicada al mundo del rock, en su número de septiembre, recien salido a la calle, publica una amplia entrevista (8 paginas) a Martin Barre, guitarrista de Jethro Tull, conmemorando el 40 aniversario de la grabación del album "Aqualung", y su inminente salida en formato deluxe. Pero no se acaba ahí la conexión de la revista con nuestra banda favorita. Tambien incluye un largo dossier sobre el reciente festival High Voltage donde, entre otros, actuaron Jethro Tull (en el escenario Prog Rock). Y, además, como colofon, dedican casi una página a la última convención de Tullianos, que tuvo lugar en Gavá el pasado 9 de julio, y que tuvo como invitado (muy) especial al mismísimo Ian Anderson.
 Casi toda la entrevista a Martin Barre gira en torno a la grabación del disco Aqualung, y a las diferentes guitarras y amplificadores que usó el guitarrista en él, pero deja comentarios como "la banda ya no es la que era".
 A la pregunta del periodista de por qué cree que ha permanecido tanto tiempo en la banda, Barre contesta:
"Me gusta recordar cosas, y esa es la razón por la que conseguí el puesto, porque me acuerdo de todos los acordes de cada canción de cada album. No se deshacen de mí porque nadie más se conoce los acordes de Passion Play. Me tendrían que llamar por teléfono, y yo diría "lo siento", así que conservo el trabajo". Curioso, ¿bromeaba?.
 Y sobre la actualidad de la banda: "Hay cosas que Ian quiere hacer y yo no. Hay cosas que quiero hacer yo para las que no necesito a nadie.Las cosas han cambiado, Ian sale por ahí con una banda diferente y no importa si se llama Jethro Tull o Ian Anderson porque, basicamente, se trata de Ian tocando música de Jethro Tull, de modo que lo que se percibe es Jethro Tull. Pero está bien, porque son cosas que yo no quiero hacer. Igual van a la Rusia profunda y yo no quiero ir allí. La última vez que fuí a Moscú me atracaron y no quiero volver; no es más que un agujero de mierda. Es cuestión de que, cuando llevas 45 años haciendo algo, tienes que ser flexible".
 Sobre futuros proyectos: "Tengo un espectáculo de rock que se llama Excalibur  y espero que llegue a América. Es u gran espectáculo con 140 personas, con acróbatas y bailarines, es muy divertido. También es buena música. Es un proyecto en el que quiero trabajar más. Luego tengo mi propia banda y salgo a la carretera con ella de vez en cuando, y es un cambio, otra gente...Mantiene vivo tu cerebro y tienes que aprender un repertorio distinto".
 "This is Rock" es una revista mensual, cuyo precio son 5 euros y que ya puedes conseguir en cualquier kiosko de tu ciudad. Además de todo lo relacionado con Jethro Tull, en éste número tan especial hay cosas tan interesantes como una entrevista a Sir Paul McCartney, Dream Theater, Adrian Vandenberg, críticas de discos, etcétera. Altamente recomendable.
Puedes visitar su página web en www.thisisrock.net

jueves, 1 de septiembre de 2011

Thick as a Brick Live in 2012.

"Thick as a Brick" Played in Special 2012 Tour.
Ian Anderson ha anunciado que para el proxímo año 2012 habrá gira de Thick As A brick, para conmemorar su 40 aniversario, e interpretaran integramente el álbum, algo que no hacian desde 1972, cuando hicieron la gira de presentación del entonces nuevo álbum.

 La gira mundial comenzará a mediados de Abril en el Reino Unido, luego llegara al resto de europa a finales de la primavera y pruncipios de verano, para posteriormente seguir en América durante los meses de Septiembre, Octubre y Noviembre.
La gira incluirá interpretaciones teatrales, video y elefantes bailarines (?).

Ian Anderson Announces the Thick As A Brick Tours for 2012.
Ian Anderson performs Thick As A Brick in its entirety for the first time since 1972, going out for a world tour commencing in the UK in Mid-April. Then, it's on to European countries in the late SprThick as a Brick Live Tour 2012ing and Summer before landing in the USA for two tours spanning September, October and early November.
This tour will feature a more theatrical production with video, additional musicians and a troupe of dancing elephants. (Just kidding about the dancing elephants: they don't dance.,...)
In 1972, Ian wrote the music (and the lyrics which were credited at the time to the fictitious character, 8 year-old Gerald Bostock, whose parents lied about his age) and recorded with Jethro Tull, Thick As A Brick. The record became a number one Billboard album and enjoyed huge commercial success in most countries of the world. The album featured only one song, lasting nearly 45 minutes. To accommodate the album on LP vinyl and cassette, the seamless track was split on both sides of the record. It reached number one on the US Billboard Pop Albums chart.
Tull then dutifully took the somewhat theatrical show on the road in the Great Britain, USA, and other world markets.
Since 1972, the album has never been performed in its entirety although a few minutes of the material have been a regular repertoire staple in both Tull and IA solo shows over the years.
Now, scheduled for performance again in 2012, Ian will take the original album to a theatre near you. It will be performed in its entirety in a theatrical setting with band, and additional guests.

AQUALUNG deluxe edition 40th ANNIVERSARY.

Aqualung 40th Anniversary Collector's and Special Editions.
"Aqualung" es definitivamente el disco más popular de Jethro Tull y un clasico del rock. Ahora, 40 años despues de su publicacion, se reedita en formato especial manteniendo todo el sabor y sonido que lo hizo convertirse en una histórica grabación. No es una reedición más para sacar un puñado de euros a los bolsillos de los fans.  Ésta definitiva edición para coleccionistas incluye:
-LP de 180 gramos de peso, doble CD,  y BLUE RAY incluyendo bastante material inédito hasta la fecha, una nueva mezcla estéreo, la mezcla original cuadrafónica, y el sonido 5.1 DTS y Dolby Digital.
-Libreto de 48 paginas con portada dura de alta calidad, notas interiores, nueva entrevista con Ian Anderson, preguntas y respuestas con el ingeniero de sonido John Burns, recuerdos de la banda y  Jennie Franks (primera esposa de Ian quien escribió la letra del tema principal), fotos raras, notas de las nuevas mezclas por el productor Steve Wilson(Porcupine Tree), y mucho más.
"Aqualung" is Tull's most recognized album and a definitive rock classic. Now, 40 years after its release, this prized recording gets a collection worthy of its historic status.

This is not a simplistic rehashed remastering aimmed at squeezing another few pounds, dollars, euros, etc. out of the recording. Want proof? The limited collector's edition's contents include:
  • 180g heavyweight LP, 2CD, DVD, and Blu-Ray including various unreleased materials, a new stereo mix, the original Quad mix, and 5.1 DTS and Dolby Digital Surround
  • 12"x12" 48-page hardback book featuring liner notes and an interview with Ian, Q&A with engineer John Burns, memoirs from band members and Jennie Franks (Ian's first wife who wrote the lyrics for the title track), rare photos, notes on the new mixes by producer Steven Wilson, and much more.



Side 1
1. Aqualung (New Stereo Mix)
2. Cross-Eyed Mary (New Stereo Mix)
3. Cheap Day Return (New Stereo Mix)
4. Mother Goose (New Stereo Mix)
5. Wond'ring Aloud (New Stereo Mix)
6. Up To Me (New Stereo Mix)

Side 2
1. My God (New Stereo Mix)
2. Hymn 43 (New Stereo Mix)
3. Slipstream (New Stereo Mix)
4. Locomotive Breath (New Stereo Mix)
5. Wind-Up (New Stereo Mix)
1. Aqualung (New Stereo Mix)
2. Cross-Eyed Mary (New Stereo Mix)
3. Cheap Day Return (New Stereo Mix)
4. Mother Goose (New Stereo Mix)
5. Wond'ring Aloud (New Stereo Mix)
6. Up To Me (New Stereo Mix)
7. My God (New Stereo Mix)
8. Hymn 43 (New Stereo Mix)
9. Slipstream (New Stereo Mix)
10. Locomotive Breath (New Stereo Mix)
11. Wind-Up (New Stereo Mix)

CD 2
1. Lick Your Fingers Clean (New Mix)
2. Just Trying To Be (New Mix)
3. My God (Early Version)
4. Wond'ring Aloud (13th December 1970)
5. Wind-Up (Early Version - New Mix)
6. Slipstream (Take 2)
7. Up The 'Pool (Early Version)
8. Wond'ring Aloud, Again (Full Morgan Version)
9. Life Is A Long Song (New Mix)
10. Up The 'Pool (New Mix)
11. Dr Bogenbroom (2011 - Remaster)
12. From Later (2011 - Remaster)
13. Nursie (2011 - Remaster)
14. US Radio Spot

1. Aqualung (5.1 Surround Sound Mix)
2. Cross-Eyed Mary (5.1 Surround Sound Mix)
3. Cheap Day Return (5.1 Surround Sound Mix)
4. Mother Goose (5.1 Surround Sound Mix)
5. Wond'ring Aloud (5.1 Surround Sound Mix)
6. Up To Me (5.1 Surround Sound Mix)
7. My God (5.1 Surround Sound Mix)
8. Hymn 43 (5.1 Surround Sound Mix)
9. Slipstream (5.1 Surround Sound Mix)
10. Locomotive Breath (5.1 Surround Sound Mix)
11. Wind-Up (5.1 Surround Sound Mix)
12. Lick Your Fingers Clean (New Mix) (5.1 Surround Sound Mix)
13. My God (Early Version) (5.1 Surround Sound Mix)
14. Up The 'Pool (5.1 Surround Sound Mix)
15. Life Is A Long Song (New Mix) (5.1 Surround Sound Mix)
16. Aqualung (New Stereo Mix)
17. Cross Eyed Mary (New Stereo Mix)
18. Cheap Day Return (New Stereo Mix)
19. Mother Goose (New Stereo Mix)
20. Wond'ring Aloud (New Stereo Mix)
21. Up To Me (New Stereo Mix)
22. My God (New Stereo Mix)
23. Hymn 43 (New Stereo Mix)
24. Slipstream (New Stereo Mix)
25. Locomotive Breath (New Stereo Mix)
26. Wind-Up (New Stereo Mix)
27. Lick Your Fingers Clean (New Mix)
28. Just Trying To Be (New Mix)
29. My God (Early Version)
30. Wond'ring Aloud (13th December 1970)
31. Wind-Up (Early Version - New Mix)
32. Slipstream (Take 2)
33. Up The 'Pool (Early Version)
34. Wond'ring Aloud, Again (Full Morgan Version)
35. Life Is A Long Song (New Mix)
36. Up The 'Pool (New Mix)
37. Dr Bogenbroom (2011 - Remaster)
38. From Later (2011 - Remaster)
39. Nursie (2011 - Remaster)
40. Aqualung (Quad Mix)
41. Cross-Eyed Mary (Quad Mix)
42. Cheap Day Return (Quad Mix)
43. Mother Goose (Quad Mix)
44. Wond'ring Aloud (Quad Mix)
45. Up To Me (Quad Mix)
46. My God (Quad Mix)
47. Hymn 43 (Quad Mix)
48. Slipstream (Quad Mix)
49. Locomotive Breath (Quad Mix)
50. Wind-Up (Quad Mix)
1. Aqualung (5.1 Surround Sound Mix)
2. Cross-Eyed Mary (5.1 Surround Sound Mix)
3. Cheap Day Return (5.1 Surround Sound Mix)
4. Mother Goose (5.1 Surround Sound Mix)
5. Wond'ring Aloud (5.1 Surround Sound Mix)
6. Up To Me (5.1 Surround Sound Mix)
7. My God (5.1 Surround Sound Mix)
8. Hymn 43 (5.1 Surround Sound Mix)
9. Slipstream (5.1 Surround Sound Mix)
10. Locomotive Breath (5.1 Surround Sound Mix)
11. Wind-Up (5.1 Surround Sound Mix)
12. Lick Your Fingers Clean (New Mix) (5.1 Surround Sound Mix)
13. My God (Early Version) (5.1 Surround Sound Mix)
14. Up The 'Pool (5.1 Surround Sound Mix)
15. Life Is A Long Song (New Mix) (5.1 Surround Sound Mix)
16. Aqualung (New Stereo Mix)
17. Cross-Eyed Mary (New Stereo Mix)
18. Cheap Day Return (New Stereo Mix)
19. Mother Goose (New Stereo Mix)
20. Wond'ring Aloud (New Stereo Mix)
21. Up To Me (New Stereo Mix)
22. My God (New Stereo Mix)
23. Hymn 43 (New Stereo Mix)
24. Slipstream (New Stereo Mix)
25. Locomotive Breath (New Stereo Mix)
26. Wind-Up (New Stereo Mix)
27. Lick Your Fingers Clean (New Mix)
28. Just Trying To Be (New Mix)
29. My God (Early Version)
30. Wond'ring Aloud (13th December 1970)
31. Wind-Up (Early Version - New Mix)
32. Slipstream (Take 2)
33. Up The 'Pool (Early Version)
34. Wond'ring Aloud, Again (Full Morgan Version)
35. Life Is A Long Song (New Mix)
36. Up The 'Pool (New Mix)
37. Dr Bogenbroom (2011 - Remaster)
38. From Later (2011 - Remaster)
39. Nursie (2011 - Remaster)
40. Aqualung
41. Cross-Eyed Mary
42. Cheap Day Return
43. Mother Goose
44. Wond'Ring Aloud
45. Up To Me
46. My God
47. Hymn 43
48. Slipstream
49. Locomotive Breath
50. Wind-Up
51. Aqualung (Quad Mix)
52. Cross-Eyed Mary (Quad Mix)
53. Cheap Day Return (Quad Mix)
54. Mother Goose (Quad Mix)
55. Wond'ring Aloud (Quad Mix)
56. Up To Me (Quad Mix)
57. My God (Quad Mix)
58. Hymn 43 (Quad Mix)
59. Slipstream (Quad Mix)
60. Locomotive Breath (Quad Mix)
61. Wind-Up (Quad Mix)

domingo, 17 de julio de 2011



sábado, 9 de julio de 2011


Jethro Tull-"Closed Pages". Grugahalle, Essen, Germany, 30-Mar-1980.
This Tour was the last with members of the old "Blackpool Connection", wich dated back to 1965. After these concerts, the book about this part of Tull´s history was closed.
This one's taken from the European leg of the "Stormwatch" world tour. Dave Pegg was by now, a permanent member of Tull following the tragic death of John Glascock (R.I.P.) in November 1979.
This show is as good as it gets for sound quality from an audience recording - highly recommended!!.
Band line up:
Ian Anderson, Martin Barre, Dave Pegg, Barriemore Barlow, John Evans, David Palmer.

Trade CDR > EAC > FLAC (Level 8) > YOU

Artwork included
Disc 1 - 63:31
01. Intro
02. Dark Ages
03. Home
04. Orion
05. Dun Ringill
06. Elegy
07. Old Ghosts
08. Something's On The Move
09. Aqualung
10. Band Introductions
11. Peggy's Pub
12. Jack-In-The-Green
13. King Henry's Madrigal
14. Drum Solo
15. King Henry's Madrigal (reprise)
16. Heavy Horses

Disc 2 - 52:12
01. Flute Solo
02. Keyboard Duet
03. Songs From The Wood
04. Hunting Girl
05. Jams O'Donnell's Jigs
06. Thick As A Brick
07. Too Old To Rock 'n' Roll
08. Cross-Eyed Mary
09. Guitar Solo
10. Minstrel In The Gallery
11. Locomotive Breath
12. The Dambuster's March*

(* from Berlin 22-Mar-1980)

lunes, 4 de julio de 2011


La novena edición de la Convención de Tullianos se celebrará el próximo sábado, 9 de julio, en el Auditori Marc Grau de Gavá (Barcelona).
El plato fuerte de este año es la presencia de IAN ANDERSON, John O'Hara y Florian Opahle, que ofrecerán un concierto acústico de 45 minutos. Además, Anderson tocará un par de temas con Un tal Jethro, el grupo de covers. El acceso es totalmente gratuíto. Tras muchos años de contacto con Ian Anderson, viajes a Londres perfectamente organizados y muchísimas conversaciones, han conseguido, para su novena Convención, traer al mismísimo Ian Anderson para que dé un concierto el próximo 9 de julio en el Auditorio Marc Grau de Gavá a partir de las 7 de la tarde.
Cristobal Vergara
Fas Music Mallorca
Noches de Orión
Ian Anderson (acompañado de dos miembros actuales de Jethro Tull, John O´Hara y Florian Opahle)
Un Tal Jethro



sábado, 25 de junio de 2011


Paints by JSaurer.
What do you think is the best album that Jethro Tull ever recorded. Please visit our FACEBOOK page and vote.
¿Cual crees que fué el mejor disco que jamás grabaron Jethro Tull?. Por favor entra en nuestra página de FACEBOOK y participa votando.

lunes, 13 de junio de 2011

The Ian Anderson Interview (2011)

The Ian Anderson Interview (2011) (http://www.vintagerock.com/)
By Shawn Perry
One of the joys I get from writing about vintage rock is the chance to talk to some of the greatest musicians in the world. And Ian Anderson, in my book, is easily in the top five. Even better is the fact that I've been given the opportunity to speak with the Jethro Tull leader on three separate occasions. Each and every time he has astounded me with his insight, attention to detail, his recall of historical milestones, his wicked sense of humor and mild courtesy. In the past, my interviews with Anderson have spanned his entire career; this time I narrowed my focus to one particular subject: Aqualung.
Celebrating its 40th anniversary, Aqualung is unquestionably Jethro Tull's most popular album. Needless to say, the band has some big plans to honor the record — plans you can read about in the interview below. Ian and I also talked about the making of Aqualung — the inevitable bumps in the road and more importantly the triumph of its eventual success. And then, just to throw things off course, there is one last question about Jethro Tull’s future. You may be pleasantly surprised at the answer. I know I was. Then again, Ian Anderson always seems to have any number of surprises up his sleeve. At the end of the day, it’s all to keep the bigger picture in perspective.
The Beatles have Sgt Pepper, Dylan has Blonde And Blonde, Pink Floyd has The Dark Side Of The Moon and Jethro Tull has Aqualung. With that in mind, would it be fair to say that Aqualung is a definitive representation of what Jethro Tull is all about?
Well, in truly commercial terms, the answer would be yes. It being the single, best-selling album. But then again, it's had 40 years to sell that number of copies. It wasn't an instant, out-of-the-box big seller. It sold steadily over the first few years of its life to establish Jethro Tull internationally. I guess it’s the album, perhaps along with Thick As A Brick a couple of years later, which defined the band being established in most of the major record markets. Today, it supplies very much the benchmark repertoire of the band. Even at my other concerts with string quartets, acoustic shows and so forth, we have two or three songs from the Aqualung album — long-established must-have songs.
Now you’re coming over here to play some shows, doing Aqualung in its entirety.
For the second time, we’re doing all of the Aqualung album in concert. About five years ago, we did a bunch of shows in the UK and a few in the US. where played Aqualung, It was something we did at the suggestion of XM radio in Washington some six, seven years ago when they asked us to come into their studios and perform all of Aqualung live as a radio broadcast. There’s a whole bunch songs on there that we never played live and I couldn’t see myself wanting to do that. However, after listening to the album back then, I decided it was worth giving it a shot and we agreed to do this for XM and we released the recording as a limited edition album for charities for homeless people in the U.S. and the UK.
It was a worthwhile thing to do. We then went out and played a bunch of shows, particularly in the UK, doing the whole album. So, we’re doing that again. In September, there’s a collector’s edition of the Aqualung album being released by EMI, which I just finished working on in conjunction with Abbey Road studios. An engineer has remixed the album very nicely in 5.1 surround as well as stereo, so the collector’s edition will have the original mixes, the remixes, the 5.1 mixes and about 11 bonus tracks, including some outtakes from the album, which we were able to find amongst the old tapes stored at Abbey Road studios these days.
Will the 5.1 mix be on SACD or Blu-ray?
It’s not on Blu-ray. It will be released as a pack with a CD and DVD. We only just finished this in the last week or two. Believe it or not, I have a CD of the remixes sitting on my desk that arrived a couple days ago, but I only got back a couple of days ago from a Latin American tour. I haven’t had a chance to listen to it yet, but I will to do that tomorrow morning. I listened to the final mixes, but I haven’t heard the actual mastered versions, which had been put into the final trim at Abbey Road studios.
Going back to the making of Aqualung, wasn’t it your first wife Jennie who came up with concept for the title track?
She had a photograph of some people she had been photographing when she was studying photography at a college in London. Her assignment was to go and photograph homeless people in South London, which she did. She came back with the photographs and she had written on the back of a photograph some description of one of the characters. The picture caught my eye and the word she used to describe him. And so I said, “Let’s make this into a song.” So we did and it became the title track of the album.
On the copy of Aqualung I have, she gets full credit for the song.
She was my first wife and that was a nice way of saying good bye.
The album also courted a bit of controversy, with songs like “My God” and “Wind Me Up,” which were initially perceived as anti-organized religious.
It’s fair to say they were critical of organized religion — a stance I maintain to this day, in spite of the fact, mysteriously to some, I’m a supporter of Christianity and every year I play concerts in churches and cathedrals, and it’s something that I do. But I can still be critical of various religions, particularly Christianity; because it’s the one I’m closest to and have the most knowledge of. To be critical and not condemn it outright is, to me, quite easy. It’s not a contradiction in any way. There’s no dilemma at all in that. I’m a supporter of Christianity, but I am critical of certain aspects of it. And I wouldn’t call myself a Christian. I’m a supporter, I’m not a Christian. But then again, I could support the Manchester United Football team and not be a soccer player, couldn’t I? I could be a scientist who is passionate about the evolution of dinosaurs, and yet not have sharp teeth and a scaly tail. Not a contradiction there.
I read the sessions for Aqualung were problematic — a new studio, new bass player who didn’t really play bass, scheduling. With all these issues, did you have any idea you were making such a pivotal record?
We did because we knew it had to be. It was either the beginning of the slippery slide to oblivion or it was going to be another step up in terms of a career. I won’t speak for the others, but I was very conscious of the fact that this was a pretty important album and it had to be a bit of a landmark album. We’d done OK with three albums, but this was the one that was going to make or break us. It wasn’t an easy album to make from a technical perspective.
We had one or two difficult times in the studio, which resulted in several attempts to record some of the songs. It wasn’t that they were bad — they just weren’t quite right. Some of those outtakes are on the collector’s edition. They’re part of the evolution to the final product. A couple of the songs we played live on stage for months before we actually went into the studio to record them. It wasn’t an easy album to make mostly surrounding the technical issues, working in a brand new studio using untried and untested equipment, which unfortunately was letting us down. It wasn’t an easy ride.
And you ended up playing lead guitar on “Locomotive Breath”?
Well, I play one of the guitar parts and Martin Barre plays the other. In fact, I was listening to those in the multi-track about three weeks ago in the studio and I said, “Hold on a minute…let me just see who’s playing what here.” We had three attempts to record it that were spectacularly unsuccessful and this was about the fourth time we tried to do it. So I went on out into the studio and just did a kind of metronome bass drum and high-hat track for three and half minutes or whatever. And then I went out and played some guitar parts with an electric guitar. And then we overdubbed some tom-toms and cymbals…well, our drummer did. And the bass part and the guitar part and tacked the keyboard introduction to the beginning.
It was rather like making a Pink Floyd album. None of us were in the studio at the same time (laughs). The only way to record that (“Locomotive Breath”) was to sort of lay it down. It has a sort of metronomic pulse. It wasn’t gelling as a band piece. So I went out and did it in a rather artificial way, but it resulted in the desired effect.
Is Aqualung your favorite Jethro Tull album?
It’s certainly one of them. I don’t really have a favorite. I have favorite songs rather than favorite albums. It certainly is an album that I think is a good benchmark for everything we’ve done since then and obviously before then. It stands the test of time pretty well because a number of the songs on the album are songs about real issues. Whether it’s touching on religion, homeless people or prostitutes — these are realities of life today. It’s not an album that’s rooted in some historical perspective. It’s not about getting to San Francisco and wearing flowers in your hair. It’s not something that’s caught up in an nostalgic moment of whimsy. It’s something about issues as real today as they were 40 years ago when I wrote the songs. And those are the songs that are more upbeat and humorous or whatever. They’re songs that avoid the temptation to being pinned down and being from a certain year or certain time. They are songs of whimsy but nonetheless timeless whimsy. They border on being a little surreal in terms of lyrical content, songs like “Mother Goose” and “Up To Me.”
They’re, I suppose, a product of having read books by Jack Kerouac as a teenager. And I followed the works of painters like Magritte and Dali, who were people who kind of looked at things from a sideways glance. They had a different way of seeing things, seeing the world, and presenting them in a rather surreal way. But that was a product of the times in the UK because British humor was heading that way as well. These were the days of Monty Python, a rather surreal form of humor, which began prior to that with Round The Horn, The Goons and on to Monty Python and even these days with Little Britain. There’s a very clear-cut line of British comedy. It has an evolution, but it definitely went through quite a surreal moment with the Python folks, which I think rubbed off on me as a musician and a songwriter. Preceding that and paralleling that was, of course, Captain Beefheart who was a prodigious and very clever lyricist in the late 60s in the U.S.A.
Would it be safe to assume there are no plans for an Aqualung 2 on the drawing board?
It’s pretty safe to assume that because there’s been lots of songs since then that have touched upon some of the same areas of lyrical material as Aqualung. There’s a number of other songs that have touched upon religious matters and other social issues, but I don’t think putting them together and calling it Aqualung 2 would be a particularly good idea. There are other albums I suppose that if I thought about it, I could probably say, “How could we go about examining that.” Years and years later, would there be a merit in doing that? Perhaps there are other possibilities.
I think of Aqualung as a series of songs. It was widely touted as a concept album, but I never saw that myself. I saw it as a collection of songs, two or three of which had some common ground in terms of touching upon religious matters, and two or three touched upon social issues. I never designed it to be a concept album at all. It was perceived as such because that was the mood of the times. Writers and critics were gleefully looking for something along those lines.
This has absolutely nothing to do with Aqualung, but it’s been over a decade since the last Jethro Tull studio album. Any chance we’ll get a new Jethro Tull studio album anytime soon?
I do have, currently, a whole album written and prepared, and in fact scored in Sibelius, one of the music composition programs, and al the lyrics and arrangements done. I’m looking forward to going to the studio to record it, but it won’t be until November because between now and the end of October, we’re pretty much on the road all the time. I finished writing that in the beginning of April or the last week of March. I spent a few days with my guitar player and keyboard player doing the job of consigning it all to written arrangements. But it’s on ice until we have a recording session with rehearsals starting at the end of October. We have about six weeks of studio time booked. So, yeah there will be something next year coming out around the end of March.

lunes, 6 de junio de 2011


Jethro Tull: Tour Of Duty. (PRRP 060 :: Progresive Rock Remaster Project)
Recorded Live at Seattle Center Coliseum, Seattle WA, USA - July 25, 1975.

Disc 1
01. Introduction
02. Wind-Up-Passion Play
03. Thick As A Brick
04. Wond'ring Aloud
05. My God (with flute solo)
06. Sealion
07. Skating Away (with band introductions)
Disc 2
01. Ladies (with drum solo)
02. War Child
03. War Child Suite
04. Cross-Eyed Mary
05. Bungle In The Jungle
06. The Hare Who Lost His Spectacles
07. Aqualung
08. Guitar Solo
09. Back-Door Angels
10. Minstrel In The Gallery
11. Locomotive Breath
12. Hard-Headed English General
13. Back-Door Angels Reprise
JEMS master recording. This is an excellent sounding recording. This show captures Jethro Tull touring in support of their War Child album. This recording has circulated for years but this is the first time the master reels have ever been properly digitized (April 2010). This is an excellent show and performance with an early taste of an excerpt of Minstrel In The Gallery which would not be released until later in 75. Ian's in between song banter at this show is as entertaining if not more entertaining than music. Also of note this show took place on the 25th of July not the 27th as some other sources have speculated in the past.
1. Create stereo image.
2. Adjust Tonality/EQ.
3. Adjust dynamics.
4. Adjust speed.
5. Repair tape change/flip.
6. Re-track..
.<-(Info taken from PRRP Staff).

aqualung/my god recommend this excellent recording


sábado, 23 de abril de 2011

El Universal de Caracas entrevista a Ian Anderson.

Entrevista a Ian Anderson, líder de Jethro Tull (El Universal, Caracas, Venezuela): "Jamás me aburriré de dar conciertos".
"Esta vez será en su mayoría eléctrico, rockero, pero habrá un algo de momentos acústicos también".
Hace poco Ian Anderson, legendario líder de la banda británica Jethro Tull, dio un recital en simultáneo con una navegante espacial de la Base Internacional Espacial. "Eso fue en Rusia. Toqué junto con la astronauta norteamericana Cady Coleman, fanática de la banda, quien se llevó una de mis flautas al espacio. Somos muy amigos e interpretamos el tema Bouree para conmemorar el 50º aniversario del viaje de Yuri Gagarin. Fue muy bueno hacer música juntos. Se trató de un experimento muy importante, mandar un poco de cultura al espacio", cuenta vía telefónica el flautista, guitarrista y cantante escocés de rock progresivo-experimental.

Impregnado por una motivación ecléctica nata, el creador del álbum Aqulung (1971) se embarca en una gira mundial que pisará suelo venezolano el próximo 21 de mayo en el Anfiteatro del Sambil. Blues, folk inglés y rock, sazonado con destellos de música barroca y renacentista, forman parte de la propuesta que Anderson ha moldeado desde sus inicios en la música. Canta y toca magistralmente diferentes tipos de flautas, también la guitarra acústica, mandolina, saxofón, y otros instrumentos.

Hace casi 4 años que la reina Isabel II de Inglaterra, como reconocimiento a sus aportes al mundo de la música, le otorgó la Orden del Imperio Británico en calidad de Oficial. Y como todo un caballero hace la llamada telefónica para iniciar la entrevista con un: "¡Hola, soy Ian Anderson! ¿Esperabas mi llamada, verdad?".
-Ya conoce al público venezolano, pero ¿diría que le genera expectativas regresar?
-Nunca he tenido expectativas, espero que me sorprendan las cosas. Volver a Caracas es importante. Estaré con mi banda, tocaremos un poco del álbum Aqualung que siempre es muy pedido, interpretaré cosas clásicas de Jethro Tull, temas de la banda que no hacemos muy a menudo, mi repertorio solista y algo nuevo quizás. Esta vez será en su mayoría eléctrico, rockero, pero habrá momentos acústicos también. Lo que verán será un poco más ecléctico dentro del concepto de Jethro Tull. No quiere decir que no sea Ian Anderson tocando, pero tiene mucho del sentimiento de Jethro Tull... que también es mi banda.
-¿No percibe como si cada concierto es el primero de su carrera?
-Es de lo que se trata un concierto de rock, ser capaz de liberar esa sensación de estar en tarima por primera vez. Cada vez que te subes a un escenario es como si fuese la primera vez tocándole a gente diferente, lugares diferentes, sonidos diferentes. Depende de cómo lo concibas, es refrescante. Jamás me aburriré de dar conciertos. Mayormente por las características del show y por los músicos, que le ponemos algo de improvisación. Todos tratamos de tocar algo diferente todas las noches. Eso es lo más importante de estar en el escenario: cambiar algunas notas... No es hacer pop ni quedarte en una misma fórmula que suene igual. Improvisar en la música es muy importante para mí.
-¿Entonces sigue experimentando el miedo que sienten los músicos antes de empezar un concierto?
-¡Uhm! Lo que me pone nervioso es que haya algún problema técnico antes de subir a la tarima, porque muchas veces eso puede interferir en el buen desenvolvimiento del concierto. Pero tampoco es un gran problema, puedo lidiar con eso, junto a los rodies o técnicos. Me ponen nervioso, por ejemplo, los dos shows que voy a tener en Australia en los próximos días, porque no habrá prueba de sonido. Hay poco tiempo por tratarse de un Festival. Debemos llegar y literalmente fijar todo antes de montarnos y balancearlo en el momento.
-Las reseñas en los medios estadounidenses acerca de su gira solista tienen posiciones encontradas. Algunas sostienen que es un show intenso a pesar de lo acústico.
-Te refieres a los shows de octubre-noviembre. Sí fueron mayormente acústicos. No te preocupes, en Latinoamérica será más rock. Será en la vibra de Jethro Tull. Vengo de Turquía, donde el ambiente fue más agitado y la sensación más rockera. También estuve en Irlanda y Portugal. Me gusta cambiar lo que hago en vivo. Me gustan los cambios, el dinamismo, siempre lo vas a ver.
-¿Está consciente de que el público latinoamericano es más enérgico en los shows?
-Un poco. Creo que la gente se comporta diferente de acuerdo al tipo de concierto. Los italianos son muy locos, pero varía si estás en espacios abiertos o en sitios cerrados, así también es el comportamiento de los alemanes. El comportamiento de cada uno es de acuerdo con las circunstancias. Todo lo que hay que hacer es captar su esencia , su comportamiento, qué tanto alcohol haya en su organismo, no es gran problema. Sé que en Venezuela tienen una energía y locura tremenda... veamos cómo los guía el alcohol.

GOLDMINE: Stand Up to get Jethro Tull into the Rock & Roll Hall Of Fame.

"Let´s get Jethro Tull into the Rock & Roll Hall Of Fame" (GOLDMINE MAGAZINE)
By Phill Marder
Their hit singles are almost non-existent. Yet most fans of popular music during the Rock era are familiar with many of their songs. In fact, many know many by heart.
In the 1970s, they were one of the most popular bands on the planet, selling out albums and concerts around the world. On the Billboard album charts, they rank 20th on the list of best sellers in the ’70s. Of the 19 artists above them, just Barbra Streisand, Chicago and John Denver have failed to gain entry into the Rock & Roll Hall of Fame. In fact, of the 10 ranked below them, just one – Grand Funk Railroad – has yet to be inducted.
Like Grand Funk, Jethro Tull, our topic for this week, was/is immensely popular with the listening audience. But, not surprisingly, most critics had/have little good to say about Ian Anderson (lead vocals and flute) and Martin Barre (lead guitar) and their varying supporting cast, and, at present at least, this seems to weigh heavily on a band’s chances of entering the “hallowed” Hall.
Still, when a band puts up numbers the likes of Jethro Tull and does it for over 40 years, it’s time for Anderson, Barre and company (band members over the years number into the 20s), to receive their just due.
Tull first made its presence felt in United Kingdom concert appearances as the ’60s drew to a close. With the band playing what was then described as a mixture of blues and jazz behind the madman antics of their front man, British audiences responded by sending their initial LP, 1968’s “This Was,” into the top 10, while U.S. record buyers ran it to No. 62, a more than respectable showing for a new group without a hit.
The following year, Tull broke the British singles market with two top 10 hits, “Living In The Past” and “Sweet Dream,” and the “Stand Up” LP, though it didn’t include either hit, became the group’s only No. 1 long-player in the UK. It was far from their lone UK success, though. “Stand Up” also broke the band in Norway, starting a string of six straight Top 10 LPs there.
And while “This Was” had opened the American door for Tull, “Stand Up” pushed them right through, reaching No. 20. Album No. 3, “Benefit,” did even better in the States, just missing the top 10. It didn’t follow “Stand Up” to the top in the UK, but it didn’t miss by much, peaking at No. 3.
Remaining a favorite concert attraction and having established a constant presence on flourishing FM progressive rock radio, Tull had become one of the most popular bands in the world by the time they released their first true blockbuster – “Aqualung.” The title cut and “Locomotive Breath” became radio staples and the album became a classic, hitting the top 10 in the US and UK. Even Rolling Stone praised the album’s “fine musicianship” and considered it “serious and intelligent,” eventually ranking it No. 337 on its list of 500 all-time best albums. Guitarist magazine listed Barre’s guitar solo on the title track on their list of “20 greatest guitar solos of all time.”
How do they come up with these lists? Well, they get a group of “experts” to choose them, Rob Sheffield for one. Sheffield calls Charlie Watts the greatest drummer in rock & roll history, so perhaps these lists should be taken with a shaker of salt…assuming you haven’t lost it.
It was nice to see “Aqualung” fairly well received in the media, but Anderson was displeased the album had been pegged as a concept work. In response, he promised, “If the critics want a concept album we’ll give the mother of all concept albums and we’ll make it so bombastic and so over the top…” That they did, the entire album being one 45-minute song. Anderson later claimed the resulting “Thick As A Brick” was a spoof of progressive rock albums. Whatever it was, it worked, becoming Tull’s first No. 1 album stateside and reaching No. 5 in Britain. The sarcastic and humorous newspaper cover didn’t help endear Tull to its critics.
The next “new” release, “A Passion Play,” also hit the top of the United States chart and the next, “War Child,” just missed, stopping at No. 2.
But get this, the same two – Mark Coleman and Ernesto Lechner – that ripped Rush in The New Rolling Stone Album Guide, wrote this in that same “esteemed” publication…“The immediate success of Aqualung spurred Anderson to indulge his artistic whims, resulting in two challenging, wildly experimental, and occasionally obtuse theatrical concept albums: Thick As A Brick and Passion Play. After that strategy backfired, Jethro Tull returned to traditional song structure on War Child and the acoustic-flavored Minstrel In The Gallery.”
Backfired? BACKFIRED? How does consecutive No. 1 albums qualify as strategy backfiring? Maybe Anderson intended to produce two duds? That’s like saying the Phillies acquired Roy Halladay, Cliff Lee and Roy Oswalt and the moves backfired as they won the next two World Series. We all should have such career backfires.
Recovering from that “slump,” Tull continued to release best-selling works, four more LPs hitting the US top 20 before closing its most productive decade with “Stormwatch,” which peaked at No. 22. In the spirit of a true super group, Jethro Tull continued to release new material as the years passed, charting six US albums in the 1980s, four reaching the UK top 20, including “Tne Broadsword And The Beast,” which also climbed to No. 19 in the US, and four more best-sellers in the ‘90s.
In 1987, Tull, always hard to classify, found out just what category it fit when “Crest Of A Knave” won the Grammy for “best hard rock/metal performance vocal or instrumental” beating out Metallica and Jane’s Addiction in what Entertainment Weekly called one of the 10 biggest upsets in Grammy history. Hard rock? Heavy metal? Anderson, Barre and company didn’t even go to the award show figuring there was no way they would win. Later, their label, Chrysalis, took out an advertisement informing the public – tongue in cheek, of course – that “the flute is a heavy metal instrument.”
Anderson, Barre and cohorts still tour worldwide, live albums being the result the last few years. A live performance at the Rock & Roll Hall of Fame induction ceremony would be most deserving.
Read more: Let's get Jethro Tull into the Rock & Roll Hall of Fame | Goldmine Magazine http://www.goldminemag.com/blogs/stand-up-to-get-jethro-tull-into-the-rock-hall-of-fame#ixzz1KM2LjaRb
Leave your comment on FACEBOOK.

jueves, 21 de abril de 2011


"A NEW DAY", MAGAZINE SOBRE JETHRO TULL, PUBLICA SU MÁGICO NÚMERO 100. Acaba de publicarse en Europa (con dos meses de retraso con respecto a UK) la edición número 100 del magazine "A New Day", la revista sobre Jethro Tull que dirige Dave Rees. Aparte de contarnos que pronto
estará con nosotros también el número 101 (como continuación a éste número 100) que incluirá criticas de nuevos CDs, DVDs, libros, incluso LPs, éste capítulo tan especial incluye la primera parte de un magnífico dossier sobre la historia de todos los bateristas que han pasado por Jethro Tull a lo largo de su historia, en las que leemos algunas sorpresas.
 Otras noticias son la publicación en CD del nuevo trabajo del ex-teclista de la banda Andrew Giddings (hasta ahora solo podía conseguirse a traves de descarga digital), y la inminente salida del tercer trabajo de John Carter, producido por Martin Allcock, y con colaboraciones especiales como la de Martin Barre en algunas canciones.
 "Los otros bateristas de Jethro Tull" es el título del trabajo sobre ellos que firma Martin Webb, como comentábamos más arriba. Aquí se da un repaso a absolutamente todos los hombres de las baquetas que han colaborado con el grupo de un modo u otro, deteniendose en algunos hombres importantes (Gerry Conway, Paul Burgess), a los cuales entrevista sobre su paso por la banda de Ian Anderson. La relación de drummers que Mr Webb cuenta es la siguiente:
-Clive Bunker (1967-71, estudio y directo)
-Keef Hartley (1968, directo "presuntamente"). Nos paramos aquí. Primera gran sorpresa. Desconociamos que éste músico estuviera envuelto en una etapa tan importante para los Tull. Pero creo que no lo recuerdan ni los miembros de la banda que en aquellos años formaban parte de la misma. Segun Martin Webb, preparando éste artículo descubrió un libro autobiografico de éste músico en la que cuenta su relación con los Tull:
 "Recibí una llamada de mi amigo Mick Abrahams, quien entonces estaba tocando con Jethro Tull. La cosa empezaba a ir bien para ellos, y tenian una serie de conciertos ya firmados para hacerlos en verano. Sin embargo, tenían un problema con su batería, Clive Bunker. Clive había contratado sus vacaciones anuales de verano, como hacía todos los años, y se negaba a cambiar sus planes, aunque la banda tuviese firmado esa gira de verano. Era de la opinión de que siempre había cogido esas dos semanas de vacaciones en verano, antes de entrar a formar parte del grupo, y no veía razon para cambiarlo ahora. La banda entró en estado de pánico. Clive seguí inflexible en sus planes, pero sin un batería se verían obligados a cancelar dos semanas importantes de la gira. Con su album de debut ya grabado y a punto de editarse, la cancelación de esas fechas sería un suicidio artistico, así que empezaron a buscar un batería que pudiera unirse a ellos en el ultimo minuto. Ví a Mick Abrahams unas semanas antes cuando él acudió a un show de Graham Bond, pero él aun no sabía de mi intención de abandonar a Graham. Mick me llamó para saber si conocía de algun bateria que se les pudiera unir para esas dos semanas, y se mostró encantado cuando le dije que yo podría hacerlo. Y así lo hice, pero no fué lo más divertido que haya hecho en mi vida. Los Tull eran una banda extraña en aquellos tiempos, con riñas internas todo el tiempo. Ian Anderson en particular, obviamente, se veía a sí mismo como el líder de la banda, y tenía el molesto hábito de hacer callar e ignorar a todo el mundo. Lo intentó conmigo varias veces, pero no entraba en mis planes recoger la mierda que él iba dejando. Le dije que era yo quien le estaba haciendo un favor, y no al reves, y que si no cambuaba su actitud podía meterse el trabajo por el culo. Con mis dos semanas de trabajo completados, recogí mi dinero y, agradecido, me fuí. No fué una gran sorpresa para mí descubrir que a final de aquel año Mick abandonara, y que no mucho más tarde tambien lo hiciera el bajista Glenn Cornick".
  Ian Anderson tiene un vago recuerdo de haber tocado con Keef, pero no recuerda ningun concierto. Glenn Cornick sigue perplejo, "No puedo negarlo, pero no recuerdo nada de eso. Podía haber sido un buen candidato porque nos conocíamos de los dias en el Marquee". Mick Abrahams confirma que eran amigos pero "aunque recuerdo haber tocado con Keef, era más en plan jamming. No recuerdo nada así exactamente". Martin Webb ha tratado de ponerse en contacto via email con Keef pero no ha conseguido respuesta. Significante. ¿Verdad o mentira?.
-Barrie Barlow (1971-80, directo y estudio)
-Mark Craney (1980-91, directo y estudio)
-Gerry Conway (1981-82, directo y estudio). Extensa entrevista la que le hace Martin Webb al señor Conway, donde repasa sus inicios como músico y se extiende en su etapa Tull:
 "Tuve que hacer una audición para entrar con los Tull, lo cual siempre es complicado. Lo que ocurrió fue que yo me había mudado a Los Angeles en 1978, y en 1980 me llamó Jerry Donaghue para decirme que los Tull estaban en la ciudad de gira y si íbamos a verlos aquella noche. Fuimos, porque quería encontrarme con mi amigo Dave Pegg, al cual ví, y tambien con Barrie Barlow y el resto de la banda que tocaba en los setenta. Pero las cosas habían cambiado, y me encontré con Eddie Jobson tocando teclados y Mark Craney a la batería. Nos encontramos en el backstage al acabar el concierto y nos invitaron a tomar unas copas en el hotel donde se alojaban. Allí estuve charlando con Ian Anderson, al cual encontré muy amigable y relajado, y que me preguntaba cosas sobre Cat Stevens, con quien salí de gira y a quien Ian admiraba. Dos semanas mas tardes recibí una llamada de Kenny Wilie quien me preguntaba si queria hacer una prueba con ellos. Fué un momento excitadisimo ("¿como?, ¿con los Tull?!!!). Volé a Inglaterra e hice la audición".
-Bruce Rowland (1982, solo una actuacion en televisión haciendo playback).VER ACTUACIÓN EN YOUTUBE. "Jethro Tull se encontraron de pronto sin batería y necesitaban uno para una actuación en un programa de televisión en Alemania. Volé hacia allá y lo hize. Pero realmente no toqué con los Tull porque hicimos playback. Me aprendí las partes de batería y creo que lo hice bien, aunque no me gustaba la canción. Realmente nunca me han gustado los Jethro Tull. Y no me gustó la manera en que Ian Anderson despidió a Gerry Conway"...Ian Anderson creo que ha dejado mas enemigos por el camino que el mismísimo Roger Waters, ésto lo digo yo, no Bruce ni nadie.
-Phil Collins (1982, sólo participó en un concierto de caridad con los Tull)
-Paul Burguess (1982, directo). Martin Webb entrevista al músico nacido en Manchester en 1950.
-Doane Perry (1984-ahora, directo y estudio)
-Scott Hunter (1991, estudio). Scott Hunter(actualmente es escritor y acaba de publicar un libro titulado The Trespass) participó en la grabación del album "Catfish Rising", pero por error no salió en los creditos cuando el disco se publicó. Ian Anderson rectificó el error en la versión remasterizada en CD, pidiendo perdon a Scott en las notas interiores del nuevo libreto. "Encontré un anuncio en el Melody Maker que Ian Anderson puso, el cual decía algo así como "Se necesita baterista, guitarrista y teclista para trabajar con lider de una banda con largo recorrido internacional, para projecto paralelo en solitario", telefoneé para conocer mas y me llamó la atención que en el anuncio el telefono era acreditado a un tal Kenny. Yo sabía que Kenny Wilie era el manager de producción de los Tull, y se me pasó por la cabeza que pudiera ser Ian Anderson quien publicaba el anuncio. Lo descubrí cuando el tal Kenny me dijo que mandara una demo a Salamander Music. Ya no había dudas.Mandé una demo con temas folk, aunque ellos buscaban músicos con formación blues. Unas semanas despues Kenny me llamó y me dijo que tenía una prueba en los estudios Beacon Bottom. Me caí de la silla. Era un autentico fan de ellos desde hacía años. Songs From The Wood me pareció en la época un disco tremendo, crecí con ellos, y ahora tenía la oportunidad de tocar con ellos. El día de la audición llegué temprano. No había nadie más. Pensé que me encontraría con otros bateristas, pero ni rastro de ellos. Luego fueron llegando Kenny, Dave Pegg, Martin Barre, y por fín Ian Anderson. Todos se pusieron a preparar sus instrumentos y comenzaron a tocar algunos temas del repertorio del grupo. Ian me habia mandado una cinta con Aqualung, Farm On The Freeway y Locomotive Breath, y pasé mucho tiempo ensayandolas antes de venir. Incluso escribí algunos arreglos de bateria propios para esos temas. Ian se sorprendíó de que los hubiera escrito. Ellos no leen partituras, aprenden de oído. Tambien había un teclista haciendo la prueba pero no recuerdo su nombre, pero al final él no grabó el album. Y allí estaba yo, tocando Farm On The Freway, miraba a mi izquierda y veía a Pegg, y a mi dercha veía a Barre, y entre ellos al gran Anderson. Tambien tocamos algunos temas nuevos, Sleeping With The Dogs, y Still Loving You Tonight. Terminé la audición y no supe más de ellos hasta que meses despues Kenny Willie me telefoneó para decirme que el tema Still Loving You Tonight, que había grabado con ellos, era el que aparecía en el nuevo album, Catfish Rising, pero que por error no salía acreditado. Me sentí bien y mal a la vez. Gracias que años despues, en le reedicon remasteriozada del CD, Ian arregló el error y me pidió perdon".
-Ian Anderson (1991, estudio, más 1971, estudio, 1977, estudio...)
-Dave Mattacks (1987 video, 1991 actuación en playback en televisión, 1992, directo y album en directo)
-Marc Parnell (1994, directo)
-James Duncan/Anderson (1999 playback en TV, 2006-2009, directo y estudio)
-Mark Mondesir (2009, directo)