The St. Cleve Chronicle V7 #47
Dave Steiner , The Moderator
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The St. Cleve Chronicle Wednesday, 8 May 1996 Volume 7 : Issue 47
Today's Topics:
other bands / religion
bending flute notes
Songs From the Wood!
voice/trons
A Little Light Music
Exclusive DOANE PERRY interview
------------------------------------------------------------------------------
Date: Wed, 24 Apr 1996 11:00:42 -0400 (EDT)
From: "Robert D. Pahre" <pa...@umich.edu>
1. Tull and other bands.
Chalk me up as another Jethro Tull Blues Traveler fan. Unfortunately,
I can't put my finger on any overt similarity either.
But count me out as a fan of the other bands being tossed about
such as Rush and Genesis. While I don't know their work as well as
Tull's (obviously), it has struck me as more repetitive and less
imaginative or complex as most of Tull. If you have particular titles
with which to convince me otherwise, please email me privately.
I'd also like to add another band to the mix: any other 10000
Maniacs fans out there? The music isn't at all like Tull, but the lyrics
are (if anything) even better. IMHO.
2. Tull and religion.
The SCC seems to have a Christian contingent, a pagan contingent,
and a nondenominational monotheist contingent. (I'm a pretty ecumenical
Christian myself.) If there are others out there it would be interesting
to hear from you.
How important are spiritual issues for why we like Jethro Tull?
My hunch is that those of us who "met" Tull through Aqualung are most
likely to find that aspect of Tull important, while anyone introduced to
Tull via later work won't think it as important.
And of course this opens up the APP debates all over again. :)
- ----------------------------------------------------------------------
Robert Pahre School of Public Policy, 440 Lorch, 611 Tappan
University of Michigan, Ann Arbor, MI 48109 USA
(313)764-9564 FAX (313)763-9181
"The dead, merely by being dead, are already coping."
--Franz Bibfeldt
------------------------------
From: Kevin Thurston <kth...@watson.den.csci.csc.com>
Subject: Re: The St. Cleve Chronicle e v7 #37 bending flute notes
Date: Wed, 24 Apr 1996 10:04:55 MDT
> Date: Wed, 03 Apr 1996 12:53:56 -0600
> From: fe...@mindspring.com (John Simpson)
> Subject: Concert Review: Atlanta April 2nd
>>
> "Roots to Branches" --I was sitting too far back to see the little
> flute Ian played. It sounds "woody," just as on the album. How do
> you bend notes on the flute, anyway?
Since Ian & the boys haven't come to Denver I decided to mail order the
tour merchandise, which was very nice stuff and after the conversion of
dollars to pounds the price came out to be about the same as what you would
pay at a concert. When I looked at the brochure I was surprised to see
pictures of Ian with an OPEN HOLE or French model flute, which I've never seen
him with before, probably because most of the crazy fingering effects (like
pounding on the keys) Ian does or used to do won't work with an open hole
flute. The open holes make it easy to bend notes on the flute by gradually
covering or uncovering the hole. In the past Ian has done this on the tin
whistle and on the bamboo flute, which hav holes instead of keys. The bamboo
flute is played on the RtB song so it was probably the bamboo flute you heard
bending notes.
Women and Tull: The June 1979 Playboy Playmate of the month listed on her
data sheet under favorite musician, Jethro Tull on the top of her list.
The summer concert series here in Denver was recently announced and the
promoter was interviewed in the paper about the history of Red Rocks
Amphitheatre. He mentioned special admiration for Ian and his "show must go
on" attitude in regard to playing, standing on one leg and "crying his eyes
out from the tear gas" back in 1971. How do you think he would feel if he saw
Ian doing concerts in a wheel chair?
-Kevin Thurston
------------------------------
From: Craig_...@hmco.com
Date: 25 Apr 96 8:41:58 EDT
Subject: Songs From the Wood!
Wow.* Absolutely brilliant.* What more can I say? I've had the vinyl for
years, but no record player, and finally got the disc last week. I've been
listening to it daily, absorbing it, revelling in it, and it's well on its way
to ousting Stand Up as my favorite Tull album.
I'm very jealous of any of you who saw this tour, and can see why so many
people see this era as a high point in JT's history.
- -Craig
------------------------------
From: rud...@mv3195.edison.cc.oh.us
Date: Thu, 25 Apr 96 11:15:52 EST
Subject: voice/trons
Nothing like starting out with high praise--I've been on lots of rock-
group lists on the 'net, and the recent concert reviews on SCC have been
*so* well-written that I am warmed to the cockles of my heart. Even if
Tull was not my favorite rock band these reviews would have been good
reading. What great company to keep are you all!
Orem Coin asked about why Ian would possibly have trouble singing notes
in the middle--as opposed to the top or bottom--of the range. I've had
some voice training (gee I love these technical questions where I get
to use my old music degree some more!) so here are some theories--without
having been there myself I can't be certain. (theory 1) Most singers have
a "break" in their vocal range, generally it comes just about 1/3 of the
way down from their highest natural note. For example, I'm a baritone--
second tenor with a natural top note around F: my "break" comes around A
below middle C. Formally trained singers spend lots of practice time
trying to "smooth out" their vocal tone around this break. For a not-so
formal Ian Anderson, the break might become a temporary problem--weaker notes
in it, different tone above and below it--especially if his recent enforced
rest has enabled him to recover a little from chronic vocal fatigue. If so,
as he keeps performing, he'll probably build up his singing chops and those
notes will quit being a problem.
(theory 2) If Ian is getting a serious vocal problem, such as nodules on
the vocal folds, then as the problem progresses his voice will go thru
unpredictable changes. I dislike this theory because it means that Ian
would risk losing his voice altogether eventually, necessitating complete
vocal rest for several months and/or surgery.
(theory 3) Ian is used to singing on two legs--doing it on his arse changes
his breathing and he's not yet accustomed to it.
(theory 4) Maybe Ian was having trouble picking up his pitches from the
monitor on "Hunting Girl" and so he was singing a little softer because
he was tentative? (Ian has great "ears" I think--tho' he says Martin's
are better--but even a person with great pitch can get lost in the echoes
of a stadium-sized sound system).
Re: other groups using the mellotron--Monster Magnet (they rented a tron and
a moog for one day in the studio, heh heh) and Counting Crows (their keys
player is a real throwback! Mellotron, Hammond B-3 organ and electric
piano--no synths at all, how nostalgic for me!).
TR
------------------------------
Date: Thu, 25 Apr 1996 17:22:28 GMT
Subject: A Little Light Music
From: blu...@usa.pipeline.com (bludog3)
Fellow Tull Lovers,
This is a first time posting for me; A question keeps coming to me
over & over. Been subscribing to the SCC for a few mos. now, but of all
those newsletters, I believe I've only seen "A Little Light Music"
mentioned once.
As far as I'm concerned, this has to be Tull's best album (and I have
over 30 of them). It not only contains songs that are somewhat "re-mixed",
but for a live album, has to be one of the best recordings I've ever heard!
There are songs on there that I didn't neccessarily care too much for,
that in THIS version are outstanding!
I think, if someone was to give me the choice of only keeping one
album out of my fairly vast collection of about 450 cd's, I would have to
pick ALLM!
On this same subject: Does anyone know where I can find the words to
"John Barleycorn"? My 25th anniversary, Complete Lyrics of Jethro Tull
book doesn't list it!
May JethroTull and Ian Anderson live FOREVER!!
~Sossity57
------------------------------
Date: Thu, 25 Apr 1996 04:08:11 -0400
From: aa...@cleveland.Freenet.Edu (Dan Duvall)
To: fil...@ix.netcom.com
Subject: Exclusive DOANE PERRY interview
DOANE PERRY: THE (second) DOOOOVALL INTERVIEW
- ---------------------------------------------
The following coversation took place on 19 November 1995
backstage at the Veterans Memorial Auditorium in Columbus,
Ohio (USA). Doane Perry kindly took time to chat with me
in his dressing room after Tull's performance. I offer many
thanks to Doane for his hospitality. Thanks also to Kenny
Wylie for his assistance (and especially for the fantastic
coffee served before the gig). Also, a huge thanks to Dave
Murphy for his critical role in arranging the interview.
I began by asking if the band luggage photos in the "Roots to
Branches" tour book are for real...
Doane: The luggage photos are actually in my case almost 99%
accurate because that's in fact what I had to take
over to England for the tour whereas the other guys
were going home: you know, they could bring all this
joke stuff. That's actually more or less what I travel
with to keep myself together apart from a few obvious
jokes. I'll let anyone who has a program figure out
which ones.
Dan D: What about the Jonathan Noyce monkey costume?
Doane: Yes, that's going to make an appearance soon. I've
requested that Jonathan at least wear it once during
the tour to scare hotel check-in people and late-night
room service maitre d's. I think it's
somewhere in the wardrobe trunks lurking around, but
he's waiting for a very special moment for the monkey
suit.
(Note: 17 November 1995 was Martin Barre's 49th birthday.)
Dan D: How was Martin's birthday the other night?
Doane: We all laughed at how old he was really. We took him
out to dinner in Pittsburgh atop this hill overlooking
the river. This restaurant was very kind of late-
sixties-early-seventies decor. It just looked like any
second Doris Day and Rock Hudson were gonna come
floating through the door. You know when you see
movies from that era, it had that look like the kind
of swinging playboy type restaurant with this
panoramic view. And it was great, you know, it was
snowing and it was really nice. And we had this
incredibly expensive meal.
Dan D: What's happening with your solo projects "Thread" and
"Storming Heaven?"
Doane: "Thread," which actually was completed after "Storming
Heaven," is probably going to be released first. I
think after I talked to you last time [2 April 1994]
we had a deal, and as fortune would have it we were
sort of advised against the terms of the contract by
our lawyer, and as a result a much better deal has now
surfaced. We're in the very final stages of
solidifying it next week. It was supposed to be out
this summer because Martin and I were going to be...
he was hoping his [second solo] record ["The Meeting"]
would be out and my record was gonna be out... we were
gonna do sort of a double-header tour also with Bobby
Kimble who has a solo album. We were all gonna work
with each other. I'd have my thing with Thread, Martin
would have his, and Bobby would have his. But we would
all work with each other. Bobby would sing with us,
Martin would play with us, and then we'd play with
Bobby... do some Toto stuff, do some of Martin's
stuff, do some of Thread's stuff, and maybe a J.T.
song or so. But anyway, as fortune would have it we
now have a much better deal. The album will be out in
early spring, we're hoping. There's no point in
putting it out at Christmas. Everything comes out at
Christmas, you know, you just get killed. So Martin
and I are talking about doing this thing NEXT summer
because we have some offers of doing some concerts in
Europe and some concerts in America in different spots
with this kind of package tour. It will be a bit like
the old days where three bands tour together, except
it will all be sort of three bands in one playing with
each other. "Storming Heaven" actually now has also...
we went through several hiccups with record labels,
and now we have... it's not quite as far along as the
"Thread" thing, but we have a reasonably good offer
which I think we'll take just to get it out there. I
just want it to be out there so people can have it. If
anything ever comes of that and we do another one
that's fine, but it's just a shame for it to be
sitting on a shelf. It's all done and ready to go.
Dan D: So it's a seperate company that made the "Storming
Heaven" deal.
Doane: Yeah, that's a seperate company. All of this you can
look for within a few months. It'll be out.
Dan D: Can you give us a label name yet?
Doane: I'm far too superstitious to do anything that silly on
the cusp of it happening, but I probably can fairly
soon.
Dan D: After eleven years of performing with Dave Pegg in
Tull's rhythm section, what was it like to assimilate
a new bass player?
Doane: Well obviously we all miss Dave, but it was Dave's
decision to take some time off. It's really better for
him. His work load between Fairport and Cropredy and
Tull... he just needed a break. That's really how
we're looking at it. I had worked with Jonathan on
"Divinities," [the tour, not the studio album] and he
was great to work with. We're playing some
"Divinities" stuff in the Tull set, and he had played
some Tull stuff in the "Divinities" set, so it was
quite natural to ask Jonathan. He was already familiar
enough with it. It's very easy working with John. He
plays differently than Dave, but I love both of them.
They're both really easy bass players to work with.
But I think for now this is a good thing for Dave to
do, to have some time to relax and kind of regroup
himself.
Dan D: Was Matt Pegg considered?
Doane: Well Matt had done some gigs with us, but Matt had
some other things going on. Also, again John had done
"Divinities" with us, and he can play upright bass in
some of the Tull stuff. Matt's really more of a
straight-ahead electric player. Matt is a really good
bass player, but John was sort of the natural choice
for this.
Dan D: Is Dave Pegg considering coming back?
Doane: We'll just have to see how Dave feels after this
hiatus. I went and had dinner with him when we were
rehearsing, and I've spoken to him several times on
the phone. Dave's in very good spirits. He's resting,
and it seems to be good for him. He's happy, and
that's the main thing.
Dan D: In the Tull '90 tour book you talk about a "Songs from
the Wood" train wreck on stage when the song
completely fell apart in the middle of a show, and
I've always been curious as to what that's like... to
be up on stage and suddenly have everything collapse
musically.
Doane: Did it sound like something like that happened
tonight?
Dan D: No no no no.
Doane: [laughing] What is it like? It is just frightening.
There was a bootleg of that show, and I heard it. The
thing is it only lasted like a second and a half, two
seconds. It was really short. But it's one of those
things like a car wreck that's about to happen, and
you're seeing it, and as you're about to slam into the
oil truck in front of you, everything slows down. You
have all this time to consider the implications of
what's about to happen. Time just stretches out. It
felt like a minute that this was occuring, this
incredible wreck in downbeats all over the place. It
was one of those things that had a domino effect, and
it was such an unbelievable wreck. But when I listened
to it, it didn't sound nearly as bad or take up nearly
as much time as I remember it taking. It was this
absolute horror that gripped all of us. We all knew
that we were goners. No way out. It's funny how
incredibly subjective that experience is, but it is a
terrifying feeling when it happens. Less terrifying
but nonetheless as mortifying is when you personally
make a mistake that you think like even the janitor in
back is turning around and looking at. When that
happens and you listen to it back, sometimes it's not
really as bad as you think, but you magnify it in your
head. And this is the kind of music that you have to
always be five paces ahead in your head because
there's so much to negotiate coming up. I'm always
aware of where I am, and I'm thinking of the form and
what's coming up. Not to mention if there are patch
changes and other things you have to do. When that
goes wrong, the worst thing you can do is dwell on a
mistake. The band has talked about this. The worst
thing you can do is to brood on it. Everybody wants to
get it right, every note, all the time, every night,
but there are always little things that go wrong.
There might be things that only you hear, then there
might be things that only you and the band hear, and
then there are things that only you and the band and
the whole audience hear. There are degrees of
mistakes. It depends on how finely tuned everybody's
ears are. Sometimes we all have a laugh about it. We
all look at each other and we laugh, and the audience
probably thinks "gosh they're having a good time." The
cardinal rule I've discovered is never laugh at
someone else's mistake because you will be next.
Dan D: When you're onstage playing and counting do you
mentally keep track of each individual measure?
Doane: No. You have to get way past that if you're going to
play music onstage. I mean, I can read music pretty
well, and I have gone on gigs where I've had to sight-
read music onstage, and you're playing it for the
first time and you're counting. You've got to count
that. But with this stuff, the worst thing I could do
in like "Songs from the Wood" or "Black Sunday" is
count... [here Doane began counting out loud at a
tempo we punters call "Really Damn Fast." :) ] ...
1,2,3,4,5,6,7,1,2,3,4,5,6,7,8,9,1,2,3,1,2,3,4,5.
Yeargh, you're just gonna go crazy. You can't do that.
I sing the phrase to myself. As long as I can sing all
the melodies and all the phrases, then I know where I
am. There are times, there are a few key places where
I will count, where that might be a long gap or
something. But it's really a mistake to try to do
that. You've got to know the music by the time you go
onstage. If you're still counting everything, then you
better go back and do some more homework. But if we
do, like, Bouree for instance...we only just started
putting that back in the set like a night or two ago,
and we just rehearsed it once. We hadn't played it in
a year or something, and it all kind of came back.
That was fairly easy. I didn't have to do any counting
things in that. You just learn the phrases. Only if
it's giving me trouble will I go "wait a minute, how
is that being broken down? Is it actually a funny bar,
or is it straight time with accents in a funny place?"
If that makes sense to the musician readers. But I
think it's much better to really know it, because you
want to be able to just play. You're kind of working
on a few different levels. There's the technical
level, the physical level of getting it out with your
technique, there's sort of the emotional level of
being plugged into the music, and the spiritual level.
When it's all kind of coming through, you're working
on three or four levels simultaneously. They all have
to work together, and I sort of cross over between all
of the levels depending on what function I'm having in
the music at any given moment. But if I resided
totally in the physical technical levels all the time,
it would be a pretty dull performance for me, and
probably for the audience. You've got to be able to
project something to the audience. When I play, I hope
that I project some joy and exhuberance [sp?] in my
playing. I love to do this. This is a fantastic job.
So I don't want to sit there like an accountant,
playing stuff with the audience going "well, so what?"
There has to be a lot more than that in the music when
you go on stage. You've got to be really focused, to
play not only this music, but any music at a level
where people are coming to see you. You've got to show
them something that's very special, not just a
perfunctory performance of a song that sounds like the
record. Hopefully it's better than the record and
transcends all that. That's what I look for when I'm
playing music. That's really what I'm going for every
night. It doesn't happen every night all night, but
there are some nights where it happens more of the
night or even most of the night. But you try for that.
That's what I always keep in mind when I'm playing:
this is really amazing music to get to play. And I
know that the audience feels that way about getting to
listen to it.
Dan D: Are there any moments from tonight that stand out?
Doane: I'd have to say that tonight was sort of an okay
night. Last night-- were you in Detroit last night?
Dan D: No.
Doane: That was a great show. The hall was really inspiring.
The audience here was like "oh yeah, it's you guys up
there," and then they're back to their book. I hope
I'm not offending any people from Columbus, but I
really didn't get that kind of response from them that
kind of moved me to play better. I like to try to get
contact with a few people, but I couldn't even see the
audience tonight. Tonight was a reasonably accurate
performance, but it didn't have those moments of
transcendence if you want to call it that. And I can't
speak for any of the other guys. When I go on stage, I
want it to have a groove no matter what the time
signature. Music can swing in any time signature.
It's got to have that thing where you kind of lock
onto it. I don't know, tonight there might have been
people out there that went "wow, that's the best Tull
concert I've ever seen." I've learned not to be so
subjective. There have been times where people have
come backstage and said "that was the most amazing
performance I've ever seen you guys do." You can feel
it, you can feel a really charged audience, and you
can feel any audience which is just sort of bored, or
just wanting to hear the old stuff. I have to say that
bothers me: people come and only want to hear the old
stuff. We're not an oldies band, we're not interested
in nostalgia. You've got to play certain things, but
there's a lot of vital new music that we want to play.
I love playing the new album, and when it gets a
slightly lukewarm reception, that's slightly
depressing. There's always a segment of the audience
coming just to hear "Aqualung," but we're playing a
lot of new stuff. We have to keep ourselves
interested. You might as well please yourself, and
then you can probably please more people than if you
took a straw pole of what you think people are gonna
want to hear. There's always going to be somebody
going "well, you didn't play something from Passion
Play, and you didn't play something from ten other
albums." We have to say "this is what we're going to
do, and we hope some of you like it."
Dan D: Especially since you can't be up there playing for
nine or ten hours.
Doane: There are nights like last night where I could play
for another two hours. I went back to my hotel room
and I wanted to play some more. I was ready to play.
Today I think all of us were a little tired. You get
points in the tour where you just feel really
fatigued. Being on the road can be hard, no matter
what level of luxury you might travel at. You're not
sleeping enough or eating right or at home. But the
tradeoff is it's still a pretty good job, I have to
admit.
Dan D: Up where we were tonight the reception to the "Roots
to Branches" stuff seemed pretty strong. Especially
the first couple of songs.
Doane: That's good, that's great. I'm glad. I can't tell
sometimes. There are certain things that always get a
certain kind of reaction, like when we finish "Roots
to Branches" or "Dangerous Veils." "Rare and Precious
Chain" usually gets a good reaction. It's a good song.
But you the audience hear or feel it in a different
way than we do. The audience tonight... maybe the
sound of the audience was soaked up a lot in the hall.
It also seemed far away- I really had trouble seeing
anybody.
Dan D: "Rare and Precious Chain" is a favorite of yours?
Doane: Yeah. And it was a little bit of an afterthought for
the album. We actually recorded far more than got onto
"Roots to Branches," and we have in my estimation some
great outtakes that I hope someday will come out on
some sort of "Nightcap" type CD. There's in particular
a piece of music that's one of my favorite things ever
to have recorded. It's just a beautiful piece that I
think Tull fans would really like. But it had to be
pared down, and Ian had to focus on the tracks that he
felt overall would be balanced on the record, things
that he had a good vocal melody and lyric to. So those
other things could turn up somewhere else. "Rare and
Precious Chain" we did between legs of the
"Divinities" tour. We finished, we thought, the Tull
record, and Ian said "I've just got to write a couple
more things that we're going to record." We finished
in London, and I was supposed to go home, but I
postponed it by a day. We went to Ian's studio, and I
set up a really strange kit, almost like a Peter
Gabriel kit where I had no cymbals. High hat, snare,
and three or four toms. "Rare and Precious Chain" was
quite organic. It was meant to be a single, and
started off life as a straight-ahead rock thing, and
it became this totally other piece of music by the end
of the day. It was evolving, one thing got put on and
then another and then another. I was double-tracking
tom things in these kind of overlapping parts. I
wanted it to sound like a tribe of drummers playing on
toms. No cymbals or anything until you get to the
chorus. And then Andy was coming up with this really
bizarre eastern thing, and Martin was off in another
world. It was amazing how the pieces all came
together. We actually recorded "This Free Will" the
same night, but as a completely different song from
the final mix. We got a structure, I scribbled out a
chart, and we said "let's go for it." It was 11 or 12
at night and my plane home was the next morning. After
the Divinties tour Ian listened to it, decided he
didn't like the music, but he kept the drum track
totally intact and re-wrote a whole different piece of
music that I'd never heard. When I heard "This Free
Will" I thought "what the hell's that? I don't
remember recording that." It didn't even sound like me
playing because he had things crossing over the bar
and going against accents I was playing. If he'd
presented that music to me I would have played
differently than what you hear, so it sort of brought
a performance out of me. So those were sort of
afterthoughts. We had fifteen or sixteen pieces of
music, but only eleven made it onto the album.
Dan D: The album finishes with "Another Harry's Bar," which
I'd hoped would be in the live set - it's one of my
favorites.
Doane: I would have loved to have done "Stuck out in the
August Rain," but if we did more than what we're doing
new setwise, I'm sure we'd get grumbling and griping
from the fans, because there's already a lot of old
stuff we're not playing. We've taken "Nothing to Say"
out of the set which is a personal disappointment to
me. We did that as a segue from "We Used to Know," and
it was really good. I love that song from "Benefit."
We did it at the first two gigs, so it's out there
probably on some bootleg somewhere. And we took out
"Tall Thin Girl." The set's changed a little bit.
Dan D: Any talk of ANOTHER new album, or is it way too early
to consider?
Doane: It feels like we just finished that one, but I'm sure
there will be one. As it goes now we have touring
plans that will take us into the fall [of 1996]. Maybe
we'll have one out in 1997.
Dan D: Anything in closing to toss out to the fans on the St.
Cleve Chronicle?
Doane: Well, come and see the concerts. And please go and buy
"Roots to Branches." I think I can speak for the band
when I say we all feel it's one of the best Tull
albums in terms of direction, concept, excecution.
Overall we all feel really great about it, and we
really hope people will go out there and buy it.
That's the only thing that's going to keep us coming
back to America next year. If that's not too much of a
shameless plug. (laughs) Okay, it is a shameless plug.
******** end of interview **********
Again, my endless thanks go out to Doane, Kenny Wylie, and
Dave Murphy for making this interview possible. It's a treat
to chat with Doane, and I hope the readers of the Cleve enjoy
reading the interview.
- --
aa...@cleveland.freenet.edu * * * Dan S. Duvall
"And I won't peek behind those dangerous veils, though you
might hate me just the same..." -Ian Anderson 1995
------------------------------
To submit material to the The St. Cleve Chronicle, send mail to:
For administrative matters (additions, deletions, changes, etc.),
send mail to:
Back issues of The St. Cleve Chronicle are available via anonymous ftp
on jtull.rutgers.edu (128.6.13.3) in the subdir /pub/JethroTull. The
issues are listed in the form vXnY.MM-DD-YY (eg. v1n75.11-20-90).
Lyrics to many of the Tull albums are now also available at this site,
in the /pub/JethroTull/Lyrics subdirectory. For those without ftp
access, these can be obtained through mail by the St.C.C. Mail Archive
Server:
Send the word "help" in a message by itself for information on how to
use the archive server. To get a list of what's available use the
command "send 00Index". Commands should always go into the body of
the message since the Subject: line is ignored. Problems or questions
about the archive server should be sent to
jtull-arc...@jtull.rutgers.edu.
The Jethro Tull WWW Server at URL http://jtull.rutgers.edu/JethroTull/
contains the discography, song lyrics, a FAQ, subscription info,
pointers to other Progressive servers and more.
The contents of the The St. Cleve Chronicle are solely the opinions and
comments of the individual authors, and do not necessarily reflect the
opinions of the authors' organizations or the digest moderator.
Copyright 1996 The Jethro Tull mailing list.
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Stay tuned for the next exciting issue of The St. Cleve Chronicle!
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