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Post by tootull on Apr 26, 2012 15:16:52 GMT -5
If only Martin could sing...Wait-and-sees 'til Martin comes home.
The answer is here, the screen never lies.
What-ifs, Maybes and Might-have-beens. Why-nots, Perhaps and Wait-and-sees.
So, you ride yourselves over the fields.
And you make all your animal deals.
And your wise men don’t know how it feels
to be Thick As A Brick...... two
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Post by TM on Apr 26, 2012 15:37:03 GMT -5
It's comical to suggest Martin and Doane couldn't handle this tour. I don't think the review said that, why read that into it; I think it is just a question of wanting to stretch beyond the comfort of the "boxed" Tull, and doing it with others. As I suggested long ago, perhaps the change in players is Ian's ultimate "what if, might have been" with an alternate cast. Now he knows it would work as well. No one said can't, it's just this time they didn't, still a great album, and I hear the show rock too. If only Martin could sing, he could have taken Ryan's place  Martin can sing, which of course he did on his first album. |
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Deleted
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Post by Deleted on Apr 26, 2012 23:36:25 GMT -5
In honor of the new release of Thick as a Brick 2, and of The Jethro Tull Board, I will uphold an age-old tradition in the world of Jethro Tull: an unnecessarily crude and self-righteous review. Of the official Jethro Tull Board review of Thick as a Brick 2:
All sound is sacred, as any Swami would tell you, so to make any other speculations of this album besides holy praise is automatically sin, and guarantees condemnation to Hell (where Saturday Night Fever happens to be the soundtrack, for better or for worse).
I think I'm good at this Rock critic thing.
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Post by TM on Apr 27, 2012 13:01:23 GMT -5
I have to say the album is growing on me. And while I don't like the idea that it wasn't a Tull record, I do like this group of musicians.
It's obvious Ian felt very comfortable with this group from watching last year's solo tour.
I'm really looking forward to this show.
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Post by jtul07 on Apr 27, 2012 16:16:50 GMT -5
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Post by TM on Apr 27, 2012 18:40:10 GMT -5
LOL. You are too funny Big Jim. ;D ;D ;D |
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Post by Morthoron on Apr 28, 2012 8:58:22 GMT -5
Yeah, but life remains unpredictable enough that I could put Minstrel on today, and it may sound at or near the best thing in their catalogue. I sometimes wonder if my perceptions of their ancient material is having heard it so very much in the seventies, and in some part all the years since. No Tull album has ever impressed me more on first listen...not necessarily a good thing. I do like that "in the lamentable absence of your guests bit" In fact I like lots of it, Black Satin, Mother England, Nice Little Tune. Minstrel, One White Duck? Excess verbage among other crimes. "In fact I like lots of it, Black Satin, Mother England, Nice Little Tune. Minstrel, One White Duck?" Good to read. It was the hardest Tull album for me to get into back then, it's burned to my brain now. Baker St. Muse is one of the finest moments in prog. From my point of view as a writer (and an English Major, perhaps the only folks on the planet to care about such things ;D) Minstrel in the Gallery is the most poetic and allusive of all Tull albums - a real treat for those who enjoy the written word. In "Cold Wind to Valhalla" alone, one could spend a good deal of time just referencing the amount of "kennings" (a literary device wherein word compounds figuratively replace a more concrete single-word noun) Ian derived from Old English and Norse sources, but modernized (Beowulf and the Eddas are filled with them). Brilliant piece of poetry. As Tootull inferred, "Baker St. Muse" is one of the best examples of a prog song cycle, and the segues between songs (particularly "Baker St." into "Pig Me And The Whore") is a thing of beauty. And then there is "Black Satin Dancer", which really showcases Martin Barre and Barriemore Barlow's immense talent, and indicates that the band at that time was more the sum of its parts. It's a five star album in my book. I'd really like to hear a remaster of that, as well as A Passion Play and Songs from the Wood. |
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Post by housebrick on May 3, 2012 16:46:15 GMT -5
It's comical to suggest Martin and Doane couldn't handle this tour. I don't think the review said that, why read that into it; I think it is just a question of wanting to stretch beyond the comfort of the "boxed" Tull, and doing it with others. As I suggested long ago, perhaps the change in players is Ian's ultimate "what if, might have been" with an alternate cast. Now he knows it would work as well. No one said can't, it's just this time they didn't, still a great album, and I hear the show rock too. If only Martin could sing, he could have taken Ryan's place If only Ian could sing ,he wouldnt have needed a muppet prancing round the stage reading a newspaper. What a JOKE!!!! |
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Post by housebrick on May 3, 2012 17:01:45 GMT -5
Well thanks for the lesson, but I think I can find a legion of Floyd fans who might mension Sid Barrett. Undoubtedly Syd Barrett would be mentioned, but how many will know the series of concerts where Syd was propped up in a corner mumbling insanely while Gilmour did his parts? He did just one album (Pipers at the Gates of Dawn, 1967) and another (Saucerful of Secrets, 1968) where Gilmour was already a full member. Who in their right mind wouldn't consider Gilmour an integral part of the sound of Floyd? Likewise, Mick Abraham is the footnote, not Martin Barre. The only change from 72 to 79 was Jeffrey Hammond retiring and John Glascock taking his place, and David Palmer no longer just doing orchestral arrangements (which he had been doing for Tull since 68), but adding portative organ and synth on several albums as well (and composing the stately and sad "Elegy" for Stormwatch). Everyone of their greatest albums from TAAB to Stormwatch had basically the same cast of characters, save for Glascock. What better band? What changing cast? Your revisionism conveniently omits fact. I don't miss much of anyone past 1979, because that's when Ian started his revolving door policy, and became an insuffereable egoist. And if you are honest, you'll admit the music suffered tremendously. Say what you will, but their is appreciable difference in the quality of work from the bands as well as Ian's songwriting and arrangements post-Stormwatch. I do have a soft spot for Dave Pegg, but mostly because I prefer his work in Fairport Convention (who I've seen countless times). The hilarious thing is he kept nonentities like Noyce around for years. TAAB2 is definitely an improvement over something like Dot Com, and slots in well with Secret Language of Birds and Rupi's Dance, where Ian is the central focus from start to finish and each musician plays their assigned parts they were hired to do. There are no extended jams which Ian is not part of, and no noticeable differentiation from one bassist, drummer or keyboardist to the next. And that's fine, all solo albums are pretty much like that. TAAB2 is a fine solo album. The music hasn't gotten better. And except for a brief period around Crest of a Knave, the concerts were not nearly as good as the ones I saw pre-"A". You can argue the point all you'd like, but all one need do is look at concert footage to tell the difference. Like the Minstrel in the Gallery clips I provided. It is quite evident. No swipe at Florian, but as a guitarist I can tell you that nearly every riff was borrowed from Barre for TAAB2. There's not a shred of Florian's own style evident in the album. So what's the point? History will show Tull making several landmark progressive and prog-folk albums in the 70s, Ian with a new cast of characters trying to revise his sound in order to stay hip in the early 80s (and failing miserably), Tull stealing a Grammy from Metallica in 1987, and not much else afterward but Ian's strained vocals that are often painful to listen to. Who hasn't been to a show in the last 30 years that hasn't winced on several occasions? These days, it's better to listen to Ian during acoustic sets. I go to the bathroom if he tries to sing "Songs from the Wood". I remember seeing his lounge tour to support Rupi's Dance, and a whole row of people all cringeing simultaneously while he was singing "A Hand of Thumbs". But hey, I can always use a history lesson, as I am the first to admit that I have only seen them for the past 42 years, I am sure I missed something, right?!? I don't know what it was you listening to for 42 years. So yeah, I think you missed a great deal. Full agreement with comments this sums it all up, the once great Tull has became a JOKE!!!! Dont know why people are blowing smoke up Andersons ass these days. Hes a pale shadow of what he was and really should have packed in 25 years ago,his voice is a disgrace thes days FACT!!!! |
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Post by jtul07 on May 3, 2012 17:14:54 GMT -5
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Post by Karma 41 on May 4, 2012 0:16:17 GMT -5
Ok, after giving TAAB2 a few dozen more listens I need to update my original take. I think the album is indeed a masterpiece. The spoken parts are perfectly utilized and add to the overall experience. I love they way they evolve into song. I love the passion in Ian's voice.
The instrumentation is outstanding. Not only do I not think Florian sounds like Martin, he brings another altogether unique element that works magnificently. He's not Martin but if he keeps playing like this, who cares? Still don't care much for 'the squeezy thing' and wish he used more of the Hammond Organ.
The only part of the album that I find myself occasionally skipping is the opening and most of the vocals on Change of Horses. I tend to head straight to the wonderful jam at the end.
Overall, I am in amazement at what Ian has managed to pull off. That he was able to put the whole thing together in such a short period of time just blows me away.
IMO, whoever said the drumming is weak is, with all due respect, either nuts or simply hasn't given it enough listens. I think the drumming is great.
I can't imagine any fan of Tull not liking this album. TAAB2 just oozes creativity and genius. Like all great and worthwhile endeavors, it takes a bit of patience to experience the full pay off. I really think there is genius to this album and, at least for me, it seeps out slowly the more you listen.
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Robin
One of the Youngest of the Family
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Post by Robin on May 4, 2012 6:50:59 GMT -5
Ok, after giving TAAB2 a few dozen more listens I need to update my original take. I think the album is indeed a masterpiece. The spoken parts are perfectly utilized and add to the overall experience. I love they way they evolve into song. I love the passion in Ian's voice. The instrumentation is outstanding. Not only do I not think Florian sounds like Martin, he brings another altogether unique element that works magnificently. He's not Martin but if he keeps playing like this, who cares? Still don't care much for 'the squeezy thing' and wish he used more of the Hammond Organ. The only part of the album that I find myself occasionally skipping is the opening and most of the vocals on Change of Horses. I tend to head straight to the wonderful jam at the end. Overall, I am in amazement at what Ian has managed to pull off. That he was able to put the whole thing together in such a short period of time just blows me away. IMO, whoever said the drumming is weak is, with all due respect, either nuts or simply hasn't given it enough listens. I think the drumming is great. I can't imagine any fan of Tull not liking this album. TAAB2 just oozes creativity and genius. Like all great and worthwhile endeavors, it takes a bit of patience to experience the full pay off. I really think there is genius to this album and, at least for me, it seeps out slowly the more you listen. Agreed in every aspect! How do you think it looks like in comparison to the original? |
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Post by TM on May 4, 2012 11:04:21 GMT -5
Ok, after giving TAAB2 a few dozen more listens I need to update my original take. I think the album is indeed a masterpiece. The spoken parts are perfectly utilized and add to the overall experience. I love they way they evolve into song. I love the passion in Ian's voice. The instrumentation is outstanding. Not only do I not think Florian sounds like Martin, he brings another altogether unique element that works magnificently. He's not Martin but if he keeps playing like this, who cares? Still don't care much for 'the squeezy thing' and wish he used more of the Hammond Organ. The only part of the album that I find myself occasionally skipping is the opening and most of the vocals on Change of Horses. I tend to head straight to the wonderful jam at the end. Overall, I am in amazement at what Ian has managed to pull off. That he was able to put the whole thing together in such a short period of time just blows me away. IMO, whoever said the drumming is weak is, with all due respect, either nuts or simply hasn't given it enough listens. I think the drumming is great.I can't imagine any fan of Tull not liking this album. TAAB2 just oozes creativity and genius. Like all great and worthwhile endeavors, it takes a bit of patience to experience the full pay off. I really think there is genius to this album and, at least for me, it seeps out slowly the more you listen. I too am now finding the spoken word parts enjoyable whereas at first I'd skip right over them. The squeezy thing I still don't dig. The opening drums are not very impressive but Scott does a very good job towards the end of the album. |
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Post by TM on May 4, 2012 11:11:24 GMT -5
Ok, after giving TAAB2 a few dozen more listens I need to update my original take. I think the album is indeed a masterpiece. The spoken parts are perfectly utilized and add to the overall experience. I love they way they evolve into song. I love the passion in Ian's voice. The instrumentation is outstanding. Not only do I not think Florian sounds like Martin, he brings another altogether unique element that works magnificently. He's not Martin but if he keeps playing like this, who cares? Still don't care much for 'the squeezy thing' and wish he used more of the Hammond Organ. The only part of the album that I find myself occasionally skipping is the opening and most of the vocals on Change of Horses. I tend to head straight to the wonderful jam at the end. Overall, I am in amazement at what Ian has managed to pull off. That he was able to put the whole thing together in such a short period of time just blows me away. IMO, whoever said the drumming is weak is, with all due respect, either nuts or simply hasn't given it enough listens. I think the drumming is great. I can't imagine any fan of Tull not liking this album. TAAB2 just oozes creativity and genius. Like all great and worthwhile endeavors, it takes a bit of patience to experience the full pay off. I really think there is genius to this album and, at least for me, it seeps out slowly the more you listen. Agreed in every aspect! How do you think it looks like in comparison to the original? What will be interesting to see is if we like one better then the other in concert. |
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Post by My God on May 4, 2012 14:37:20 GMT -5
Agreed in every aspect! How do you think it looks like in comparison to the original? What will be interesting to see is if we like one better then the other in concert. Hmmmmmmmmmmm........That is going to be a tough one.  How's your granny and good old Ernie? |
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Post by housebrick on May 4, 2012 18:33:56 GMT -5
Yes its official my dear fiend KERMIT WILL DO all lead vocals on TAAB1 Miss piggy will do TAAB2 This will be a huge improvemnat on the present shambles Ian has decided Ryan just sits on his arse all night and doesnt earn his crust Hes currently discussing a contract with Animal as hes far cheaper than Scott who is FAR FAR CHEAPER than DOANNE The future looks bright!!!! |
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Post by jtul07 on May 4, 2012 19:27:05 GMT -5
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Zombywoof
Ethnic Piano Accordian-ist
Weird Music Fanatic
Posts: 192
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Post by Zombywoof on May 5, 2012 0:22:14 GMT -5
Funny you should say that, as I've been saying for years that Animal is based on Clive Bunker! |
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Post by Karma 41 on May 6, 2012 14:03:29 GMT -5
Ok, after giving TAAB2 a few dozen more listens I need to update my original take. I think the album is indeed a masterpiece. The spoken parts are perfectly utilized and add to the overall experience. I love they way they evolve into song. I love the passion in Ian's voice. The instrumentation is outstanding. Not only do I not think Florian sounds like Martin, he brings another altogether unique element that works magnificently. He's not Martin but if he keeps playing like this, who cares? Still don't care much for 'the squeezy thing' and wish he used more of the Hammond Organ. The only part of the album that I find myself occasionally skipping is the opening and most of the vocals on Change of Horses. I tend to head straight to the wonderful jam at the end. Overall, I am in amazement at what Ian has managed to pull off. That he was able to put the whole thing together in such a short period of time just blows me away. IMO, whoever said the drumming is weak is, with all due respect, either nuts or simply hasn't given it enough listens. I think the drumming is great. I can't imagine any fan of Tull not liking this album. TAAB2 just oozes creativity and genius. Like all great and worthwhile endeavors, it takes a bit of patience to experience the full pay off. I really think there is genius to this album and, at least for me, it seeps out slowly the more you listen. Agreed in every aspect! How do you think it looks like in comparison to the original? I've been thinking about this question for a bit and can't seem to connect the two. I think the new album stands on its own merit and really bares little resemblance to the original. The things that make the original so special are very different from what makes the recent release so satisfying. I think to compare the two would be unfair, as I consider the original to be amongst the greatest rock albums ever created. I'm not sure I can say that about TAAB2. Of course you can ask me in another 40 years and maybe I will change my tune. What is especially gratifying about the new release is the manner in which Ian overcomes so many obstacles in such a satisfying manner. That he managed to create a moving and sophisticated dialog that makes optimal use of his aged vocal style, while maintaining the integrity of the original was no small feat. Not only does he maximize the utility of his voice, he does so in a manner that fits perfectly with the story and might in fact even be preferable to the pristine vocals of the original. The last lines of the album serve to show this as he is able to contrast the youthful joy that was evident in the vocal stylings of the original with one that has grown tired and damaged by the forays of life. This is as if his own life and experience have marinated in a way that gives TAAB2 a feeling of realism that is quite unlike the original's timeless qualities. This, to me, is the genius of Ian Anderson. |
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Post by deathrowtull on May 7, 2012 16:50:34 GMT -5
Ive had the album now exactly a month. Ive played about 20 times and am still getting into it. Its a joy to hear an album that demands many listens. Im sure I'm not the only one who thought the days of such albums are long gone particulary from Ian who lets face hasnt exactly been prolific in the studio over the last 10 years.
This album is a triumph and proves that true prog. can still be made.
Risky as so many others have fallen flat on thier greedy faces trying to revisit old classics. Ian tips his tartan beret to the past but still lives very much in the present. The lyrics probrably more topical and thought provoking than in 1972.
What are the chances of APP2? Zero I guess!
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Robin
One of the Youngest of the Family
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Post by Robin on May 7, 2012 17:20:24 GMT -5
Ive had the album now exactly a month. Ive played about 20 times and am still getting into it. Its a joy to hear an album that demands many listens. Im sure I'm not the only one who thought the days of such albums are long gone Well, of course not really on the mainstream radio, but there are still lots of (Prog) bands who create amazing albums that demand multiple listens and much attention. Still, it's amazing to have another one of those, especially by an "old master". Do you think the intention was to create a truly "progressive" album? Because Ian said that musically the album is (intentionally) very different from the original (except the little references). And the original is pure prog. |
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Post by jtul07 on May 7, 2012 18:54:39 GMT -5
Ive had the album now exactly a month. Ive played about 20 times and am still getting into it. Its a joy to hear an album that demands many listens. I'm sure I'm not the only one who thought the days of such albums are long gone particulary from Ian who lets face hasnt exactly been prolific in the studio over the last 10 years. This album is a triumph and proves that true prog. can still be made. Risky as so many others have fallen flat on their greedy faces trying to revisit old classics. Ian tips his tartan beret to the past but still lives very much in the present. The lyrics probrably more topical and thought provoking than in 1972. What are the chances of APP2? Zero I guess! The points made here are very accurate. The possibility for "A Passion Play" sequel is not likely. If Ian would let Florian do his magic on some parts of APP, that would make me happy. |
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Deleted
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Post by Deleted on May 13, 2012 18:32:02 GMT -5
I'm actually really thankful for many reasons that Ian didn't follow the mould of the original Thick as a Brick. One of the big ones being (though I absolutely love the original) the music was pretty rigid most of the time (not like they were trying to play relaxed or anything!), march-like and repetitious--Probably the worst thing I'll ever say about Thick as a Brick!! I also tend to think Passion Play was better musically. TAAB2 was a huge endeavor, it was played in a much different style, more flowing, relaxed, and not nearly as repetitious in some ways I like it a lot better than the original, but I'm definitely not going to take that all the way yet  Yeah, I have no expectations for APP2, but I would be even more interested in hearing his sequel to THAT one!!  |
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Post by Day-glo Steve on May 24, 2012 12:55:15 GMT -5
To Rrrrrrrrrrrrraaaay (sp?)
sorry.. attrocious was a stupid word to use. emotive and innaccurate. Thanks for links. I hadn't heard latter track. Cool. It's not terrible obviously.. just nowhere near as good as the preceeding "utter genius years" . IMHO. sorry for my stupid remark. 'dissapointing' was the correct word. There a some great tracks in later years.. rocks on the road .. for e.g. But with TAAb2 lots of sparks of genius on display :-)
steve
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Post by flutestobranches on May 25, 2012 8:50:15 GMT -5
I've been playing bits of TAAB2 to some people whose knowledge of Jethro Tull is very minimal, and their ears prick up and they enthuse over how it grabs their attention, and how it is different from what they usually hear in "popular" music. We, as fans, bring all sorts of baggage and personal history with the music and past albums when we hear a new release. These factors can sometimes color our appreciation of a new work. Nothing to be ashamed of, it's only natural! So it has been very interesting to hear the opinions of people who are not judging what they hear against a 40 year old release. Didn't Ian Anderson say, in interviews 20-odd years ago, that the only competition a new Tull album had to face was Tull's own back catalogue? Very wise, that Scotsman... I love TAAB2, and I've been a fan for 33 years. What baggage I bring to the table is for other people to evaluate, if they are that bored! |
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