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Post by Icy Lucifer on Jan 29, 2012 5:58:42 GMT -5
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Post by Geoff CB on Jan 29, 2012 8:35:13 GMT -5
Bargain!
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Deleted
Deleted Member
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Post by Deleted on Jan 29, 2012 21:35:24 GMT -5
Yeah, I was going to say, regarding the dot com vinyl, you may want to check the ebays of different countries, since I think (I could be totally wrong) there are sellers who ship internationally.
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Post by Nonfatman on Feb 5, 2012 12:12:45 GMT -5
I tend to think of Tull's catalogue as being "split" too, although I tend to think of the "golden age" as starting with Aqualung (a controversial opinion I'm sure!) and ending after Broadsword, although I certainly really like a lot of the music that comes after. Rock Island had some great songs and some average ones IMHO and it seemed then the magic was fading - I mean Rock Island might still be a "good" album but it wasn't a patch of the Tull of their 70s glory days. Catfish is one that never grabbed me much, yet i enjoy most of it whenever I do play it (although listeneing today I was struck by how unfamiliar many of the songs seemed to me in constrast to almost all of Tull's work released previously (and, for me, the same applies to Roots to Branches and Dot.com - several good, though not great - tracks and some stuff I'm not too fussed about) I think a primary reason for the drop-off in quality after Stormwatch was the departure of David Palmer, and the almost complete absence of any strings after he left, except for the Ric Sanders bit on Budapest and the revival starting with Rupi's Dance and the various female violinists over the last ten years. Although the split had already occurred after Stormwatch, I still place A in the "Big Tull" era, mainly because of the beefy drumming of Mark Craney (which recalled Barrie's drums) and the presence of Eddie Jobson's electric violin. Starting with Broadsword and all Tull albums to follow, there were no strings or orchestration whatsoever. Nothing even came close to the beauty of Stormwatch, which I feel was David Palmer's most significant contribution to Tull. I've always thought that strings were such a natural part of the golden age of Tull, so that's one of the reasons I rate A so highly, the frightening concept and effective realization of the mood that Ian was trying to convey with that album is another reason, the strength of the lyrics and Ian's vocals too. Broadsword, to me, was much more of a lightweight and poppy album, designed to appeal to commercial tastes, than A, which was a serious prog-rock record and in my opinion a very underrated Tull album. Broadsword also exhibits the first studio hints of Ian's vocals problems; his singing sounds nasally on some of the songs. BTW, welcome to the Board, Egrorian! I look forward to future chats. Jeff
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Post by Nonfatman on Feb 5, 2012 12:20:39 GMT -5
Anyone else have Catfish on vinyl ? Hi Blockdog. I'm sure our very own Charlie (Derek Pith) has it. He has EVERYTHING! ;D I'm pretty sure that I do have that somewhere. Welcome to the Board, blockdog! I think you're going to like it here. Jeff
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Post by Jethro Tull FTW on Feb 20, 2012 12:13:20 GMT -5
I agree. This was one of the first Tull albums I listened to and really went, "Wow, that's quite good." My favourites off the album would be: Like a Tall Thin Girl, Sleeping with the Dog, Still be Loving you Tonight and Rocks on the Road.
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