It still seemed authentic, like a real band with Peggy. However he could not stand to see Ian struggle trying to sing anymore.
Maybe it was too many of these?
Quote:
When Noyce arrived, he looked like he was going to fall asleep on stage. That was depressing. I hear he's much more alert playing with Martin's band.
Maybe it was Jonathan's Classical background?
A graduate of the Royal Academy of Music in London, Jonathan enjoyed his first success with the British pop group Take That, for whom he supplied bass in the studio in 1993. During this period Jonathan worked closely with producer Joey Negro aka Dave Lee.
In 1995, Jonathan met and was asked to play on Jethro Tull guitarist Martin Barre's solo album The Meeting. This became a stepping stone to meeting Tull frontman Ian Anderson, who subsequently asked Jonathan to join him on his Divinities world tour later that year. A few months later Dave Pegg announced his retirement from Jethro Tull. Jonathan was a natural first choice and joined the band in August 1995. During his eleven year stint with the band, he travelled the globe, recorded a (few) studio albums plus a few more live ones.
1: Ian=Tull 2: No he isn't 1: Yes he is 2: No he isn't, I can prove it! 1: No you can't 2: Yes I can! 1: No you can't 2: This is futile! 1: No it isn't
Ouch is right. I never understood why Ian would settle for such things? at least when Mark Craney replaced Barrimore yet different it was still quality drumming and kinda gave Tull a new edge. http://youtu.be/SW3dym7m_dU?t=5m43s How could you go from Clive, to Barrimore, to Craney..to that? At least he kind of upgraded shortly after.
Well...however bad and un Barriemore Barlow worthy you consider Gerry Conway to be he has a resume' that shall we say...is impressive. Now I will agree that nothing I know him to have played on to even this point approached the arena rock pomposity of Minstrel in the Gallery, not a song or album I consider a particular feather in Ian's cap, so conceivably he was lacking in this regard, I would be less than inclined to make an assessment of anyone off the soundstage given to me on that YouTube clip, and he comported himself well enough that I would consider Broadsword one of Tull's ten best, though barely, maybe more like 12. Most will know Conway is Fairport Convention's drummer for the past...just might be 15 years by now. Prior to that, in fact stll when they reconvene here and there, the drummer for one of the challengers to FC's throne as the most influential Brit folk rock group, Pentangle. Or on the one off and utterly brilliant Fotheringay album, with Sandy Denny and other scene luminaries. Now does he know something about all of their families, some precious pvt information? I think not. Indeed he reappears with Ian on SLOB, maybe on Rupi, can't be arsed to look. I think he might be on a track or two on Rock Island and some of the anniversary set tracks. The man is not a hack and indeed is likely better known than Barrie Barlow, in part because he never left the playing field for extended stretches, and appears to have left Tull without signifigant psychological damage from Ian Anderson. Additionally his skills have seen him gain employment with Cat Stevens for six years, and the third spoke on the legendary Brit Folk wheel, Steeleye Span. Seems to me that if you look at your Nick Drake records, which folks glom onto in these past 15 years, now giving those records more credit than they are due, but at least credit, you will see Gerry's name, though again, those albums have got to be a good twenty feet away, I ain't botherin. I will always respond when I perceive a force feeding of which period of Ian Anderson's construct is undeniably the best, (because, there isn't), which musicians who have performed in the ranks were clearly the most competent, (because I just don't think its that dead evident)though if I never see another gizmotron keyboard or drumset that will be just fine, or the certainty with which folks feel they can instruct Ian Anderson to direct his craft. Always reminded of that scene in Braveheart with Edward 1 after the sacking of York, when his son, who was left in charge, has a friend over who thinks it within his influence to offer the King his advice. RIP Patrick McGoohan, a hand very well played.
Ouch is right. I never understood why Ian would settle for such things? at least when Mark Craney replaced Barrimore yet different it was still quality drumming and kinda gave Tull a new edge. http://youtu.be/SW3dym7m_dU?t=5m43s How could you go from Clive, to Barrimore, to Craney..to that? At least he kind of upgraded shortly after.
It's as if Ian intentionally made the drums insignificant in order to diminish Barrie's contributions to the band.
Ouch is right. I never understood why Ian would settle for such things? at least when Mark Craney replaced Barrimore yet different it was still quality drumming and kinda gave Tull a new edge. http://youtu.be/SW3dym7m_dU?t=5m43s How could you go from Clive, to Barrimore, to Craney..to that? At least he kind of upgraded shortly after.
Well...however bad and un Barriemore Barlow worthy you consider Gerry Conway to be he has a resume' that shall we say...is impressive. Now I will agree that nothing I know him to have played on to even this point approached the arena rock pomposity of Minstrel in the Gallery, not a song or album I consider a particular feather in Ian's cap, so conceivably he was lacking in this regard, I would be less than inclined to make an assessment of anyone off the soundstage given to me on that YouTube clip, and he comported himself well enough that I would consider Broadsword one of Tull's ten best, though barely, maybe more like 12. Most will know Conway is Fairport Convention's drummer for the past...just might be 15 years by now. Prior to that, in fact stll when they reconvene here and there, the drummer for one of the challengers to FC's throne as the most influential Brit folk rock group, Pentangle. Or on the one off and utterly brilliant Fotheringay album, with Sandy Denny and other scene luminaries. Now does he know something about all of their families, some precious pvt information? I think not. Indeed he reappears with Ian on SLOB, maybe on Rupi, can't be arsed to look. I think he might be on a track or two on Rock Island and some of the anniversary set tracks. The man is not a hack and indeed is likely better known than Barrie Barlow, in part because he never left the playing field for extended stretches, and appears to have left Tull without signifigant psychological damage from Ian Anderson. Additionally his skills have seen him gain employment with Cat Stevens for six years, and the third spoke on the legendary Brit Folk wheel, Steeleye Span. Seems to me that if you look at your Nick Drake records, which folks glom onto in these past 15 years, now giving those records more credit than they are due, but at least credit, you will see Gerry's name, though again, those albums have got to be a good twenty feet away, I ain't botherin. I will always respond when I perceive a force feeding of which period of Ian Anderson's construct is undeniably the best, (because, there isn't), which musicians who have performed in the ranks were clearly the most competent, (because I just don't think its that dead evident)though if I never see another gizmotron keyboard or drumset that will be just fine, or the certainty with which folks feel they can instruct Ian Anderson to direct his craft. Always reminded of that scene in Braveheart with Edward 1 after the sacking of York, when his son, who was left in charge, has a friend over who thinks it within his influence to offer the King his advice. RIP Patrick McGoohan, a hand very well played.
Gerry is a fine drummer, but just not the right player to cover Clive and Barrie's work.
He's perfect for Fairport and he's absolutely fine for Ian's solo stuff too.
Joined: Dec 2011 Gender: Male Posts: 47 Location: Richmond, VA
Re: TJTB's 'Official' Review of TAAB2 « Reply #88 on Apr 25, 2012, 10:33am »
I don't care if Gerry Conway drummed for Jesus Christ, with Tull he just plain sucked. 'Thud thud thud....cymbol. Thud thud thud...cymbol'. I could play that on a coffee can and sound better. Totally leaden drum playing.
Regarding Jonathan Noyce, if I am not mistaken it was Martin Barre who introduced him to Ian for the Divinities album and tour, so if you don't like him, blame Martin too.
Yes, watching Youtube videos of Tull pre-'A' or better yet pre-Broadsword shows a much livelier stage band, but in all fairness, Ian was much younger as well. You can't really compare then and now fairly because it is an older, different Ian leading the latter versions of Tull.The boots of the Under Wraps tour are quite lively, and I found the Roots tour to be particularly excellent. The downward slide for me started with the '99 Dot Com tour, when Ian chose to celebrate and highlight the 30th anniversary of Stand Up more than present his new material. That for me was the downward 'spiral' (pun intended) into Tull's own version of the post-Brian Wilson nostalgic-era Beach Boys of the 70's that only played the hits and stopped being an important studio band.
Re: TJTB's 'Official' Review of TAAB2 « Reply #90 on Apr 25, 2012, 10:43am »
Quote:
"THE CONCEPT of TAAB2 is in the lyric! The concept, the story of Gerald and "What If's, Maybes and Might've Beens" is, to my tired old head, excellent, very clever and even poignant. The concept is the content here. The music has been paired down to basics here service the story. It reminds me more of an actual play. This is probably the most straight forward ideas Ian has ever put forth, kind of surprising given what that he's following up TAAB. Comparing who's not playing the Hammond like John Evan or the lack of Martin's "style" in Florians playing is absolutely useless! It doesn't mean a thing. 1972 was a loooong time ago and "Tull" or Ian will never sound that particular way again. It was the chemistry and musicianship of a certain five guys in their early twenties that produced that wonderful stuff. I will take this as it is..... Ian using his usual talents and putting them forth in the situation he's in TODAY. So far I like it myself.......the "buzz" is kind of nice too......I mean all the news. Ian could stop doing interviews for a bit now, I usually eat up his interviews but I've found myself skipping through them lately, too many too..... Now, I'll wait to see it for myself (just down the street, in the 9th row) and that's just around the corner..........in October(!)" Darin Cod
Well put Darin, Bravo!!! I would only add that I would bet it took a great deal of spine to approach this on his own terms and i think this is alluded to in "A Change of Horses". And to Steve H,H, Great point about the youthfull mindset we brought to the original Brick. We'll never get that back, the new work should, I believe, be enjoyed, or not, mainly on it's own terms with proper nod to the original. And for all the input of the band members to the original which was large, remember Ian wrote the lyrics and played at 3 of the 5 main instruments. I do like the additional idea of trying to make this a very live album with very little studio gimmickery ( not that there's anything wrong with that), an interesting change of direction.
Joined: Dec 2011 Gender: Male Posts: 47 Location: Richmond, VA
Re: TJTB's 'Official' Review of TAAB2 « Reply #91 on Apr 25, 2012, 10:51am »
I'd also like to add that Ian had/has a history of hiring people based on personality and not musicianship. Jeffrey Hammond was one, as was Maartin Allcock (he was a good musician on strings, not the keyboards he was hired for), and probably a few others. Jeffrey was a great 'Tull' personality and his contributions to the personality of the band were great, as was his stage presence, but he was not someone who would be hired to play bass for someone as a studio musician. Does he even have a musical credit outside of Tull? Bet you he has zero guest appearances on other artist's recordings.
I have no issue with the great house cleaning of 1980. Barrie and John Evan were great, but people have to evolve and move on and that's what Ian did. Success is not guaranteed and he had mixed success after 1980, but that has more to do with Ian I think than with whom was in JT at any particular point.
I have always 'cheered' for musicians to stay with JT, because I like musical continuity, but Martin Barre is 65. He's done his time in the band and if he no longer wants to work with Ian or vice versa, they shouldn't be forced to. They've lasted together longer than most marriages and didn't even need to stay together for the sake of the kids! (although some fans are acting like kids demanding that they do).
I'd also like to add that Ian had/has a history of hiring people based on personality and not musicianship. Jeffrey Hammond was one, as was Maartin Allcock (he was a good musician on strings, not the keyboards he was hired for), and probably a few others. Jeffrey was a great 'Tull' personality and his contributions to the personality of the band were great, as was his stage presence, but he was not someone who would be hired to play bass for someone as a studio musician. Does he even have a musical credit outside of Tull? Bet you he has zero guest appearances on other artist's recordings.
I have no issue with the great house cleaning of 1980. Barrie and John Evan were great, but people have to evolve and move on and that's what Ian did. Success is not guaranteed and he had mixed success after 1980, but that has more to do with Ian I think than with whom was in JT at any particular point..
My whole post is not directed at you Koba, you were just the last one of many to post on this subject.......so with all due respect: I beg to differ on your first point. No one was hired on the strength on their personality. Jeffery was Ian's best friend. The core band from 71 one on to 76 was one based on long standing friendships. They had already been a band.
This is Ian and his "hired hands" John, Barrie, and Jeffery in 65 or 6 Ian wanted to work with people that thought the same way he did, same background, influences and motivations. John Evan hadn't racked up any outside work credentials either before or since, doesn't make someone a great player or not. Ian would not play with others either until late 80s.....and even then was insecure about it. Jeffery was pressed into service by Ian who bought him a bass on Christmas 70. They then went staight into the studio to record "Aqualung" He must've thought he could handle the job and being someone he could trust and work with was more important than finding some "hot" player with an unknown personality to then spend all their waking hours together, in the studio and on the road.
As far as other people here, railing about getting a history lesson, and many others referring to the revolving line up of hired hands? All of the band members took the same pay.....up until John Glascock's joining the band. He WAS the first hired hand. Stated by Martin and Barrie in the DVD "Jethro Tull: Their Fully Authorized Story"
If you don't have this, you should, there's a lot of info about Tull on here that you may not know! You can augment your history right here! Seems that Jeffery's leaving was a pretty big deal to Anderson and really changed the dynamic within the band that ultimately led to the 1980 situation. EVERYONE was ready for a change. Ian did not clean house, but he knew he was in for a change. Terry Ellis created the headline about the sacking for promotional purposes only. Best thing Ian did at the time was hire Dave Pegg, one of the best bass players and overall musicians that have been in Tull. He was "hired" by Ian. (He also dishes the best dirt on the aforementioned DVD, he's hilarious, and sounds like he pissed in Terry Ellis drink in 84) I think his contribution was very musical and lent much needed humor and personality to projects to come.
I first "saw" the band in 1971. I was inspired to go because I was listening previously to "Stand Up" when Aqualung hit the airwaves. My friends said "You've gotta see this band live!" I was, in one way (and still am) very disappointed not to see Cornick and Bunker, who I considered a big part of Tulls sound. So they had just "changed" into a different band! I had no knowledge of any of this "inside baseball" crap and didn't care at the time because what I saw when I got to the Forum blew me right the fuck away! I remain "afflicted" to this day. Arguing about the past members and new ones is not something I'm interested in. I have a lot of respect for most all of the true hired hands, since 80. BUT Martin Barre was not a hired hand and was not Ian's "underling", he is the last member of Jethro Tull to have played with Ian.......in any context. And that is notable. THAT SAID!! I have my tickets! and because I'm the age I am, I don't wish the earth to spin any faster....but I can't wait for October.
BTW Anyone know how many songs Ian wrote about or for other band members? Can you name them???
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