The St. Cleve Chronicle V7 #46
Dave Steiner , The Moderator
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The St. Cleve Chronicle Tuesday, 7 May 1996 Volume 7 : Issue 46
Today's Topics:
Ian's hurt leg
Another leg in the US?
My long history with JT
Scattered
Women & Rock
Regis/Kathy
Yippee! I'm going to third Sydney concert!
Tull/Yes . . . Tori?
Greek tragedies
Tull and ELP show, August 23, Meriweather Post Pavillion, MD
Your Least Favorite Tull Songs!
Catfish Rising
On the other hand...
Out-of-place Tull songs
Point of View (or two)
bending flute notes
Re: The St. Cleve Chronicle V7 #37
The St. Cleve Chronicle V7 #37 -Reply
Other Influences,Yes, Renaissance, ELP, Travers
------------------------------------------------------------------------------
Date: Tue, 23 Apr 1996 21:37:39 -0500 (CDT)
From: Angela Lynn Hildebrand <ang...@physics.utexas.edu>
Subject: Ian's hurt leg
So, did anyone out there attend the concert in Lima, Peru, where Ian had
hurt his leg? What EXACTLY happened?
Angela
------------------------------
From: HOB...@ctrvax.Vanderbilt.Edu
Date: Sat, 20 Apr 1996 03:08:32 -0500 (CDT)
Subject: Another leg in the US?
Well, I am going to try this again. I tried to send a message
before, but somehow it didn't get through. At any rate, there is one thing
I must say...I MUST SEE JETHRO TULL IN CONCERT!!!!! That being said, I
would appreciate any information from any of the fellow SCC subscribers
who could help me out in this matter. I live in Nashville, TN, and I read
there is a confirmed date in Maryland. I would like to know if there are
any dates that are closer to my neck of the woods. I am making an urgent
appeal! You fellow Tullers ought to know what sort of anguish I am going
through!
That being said, I would like to respond to a posting that I just
read on Ian Anderson's "Divinities" album. Basically, the person in
question was ripping apart the album as being unoriginal and pretentious.
He mentioned that Ian had no business meddling in Eastern music and should
stick to his bread-and-butter of rock/blues. He also mentioned "Catfish
Rising" as being an example of Tull at its best.
First of all, I would like to say that "Divinites" was perhaps the
best classically oriented album I have heard in quite a while. I thought
Mr. Anderson's fluting to be superb. He has indeed re-learned the flute,
and in so doing, made himself probably the best flautists ever. Just
because he happens to have a background of "rock" music and such should
be no measure of his classical ability. This, to me, is rather prejuiced.
I found the album to be sound musically and quite well put together. It
was a refreshing change and a delightful listening experience.
As to "Catfish Rising", well, to be quite frank, it is probably the
worst Tull album ever made. This is no slight to Ian & Co. However, it
seemed to me as if they were trying too hard to fit in to the "pop" music
genre and ended up instead failing miserably. As I said, this is no slight.
I don't the first thing about playing a flute or guitar. I am, if you will,
an armchair musician. I do think their latsest effort "Roots to Branches", is
a triumph of instrumentation. It is well orchestrated and excellently
executed. I must admit, on first hearing, Ian sounded a bit raspy on vocals.
He has lost a bit of his vocal ability. This is my humble opinion, of course,
and I expect some would disagree. However, the manner in which he plays the
flute is nothing short of miraculous. It left me in awe.
Well, I have taken up enough space I suppose. I thank you fellow
Tull fanatics for your ear. I would welcome any Tull correspondance. Just
e-mail if you care to chat. Again, thank you...and remember I desperately
need information you can provide me for dates near my location!!!
Your fellow Tull-o-phile,
Chris Watson
------------------------------
Date: Sat, 20 Apr 1996 21:19:31 -0400 (EDT)
From: jame...@together.net (James Patrick Albanese)
Subject: My long history with JT
Hi! My name is Jim Albanese and i have been a Tull fan since I was
10-(1975). I was lucky enough to grow up in
a city that Tull played at at least once a year and on good yearstwice,NYC.
I first saw Tull live in 1977 and have not missed a tour since. I saw the
famous live show from Madison Sqare Garden and can pick my young face out of
the crowd on the Twentieth Ann. video. I have seen Tull live at least 35
times and would like any info on tours in my new home town, Burlington, Vt.
Most people who post to the SCC hate RTB. I love this album and especially
love Wounded Old & Trech. As for the hot topic of Ian and drug use---WHO
CARES! If drugs make Ian creative then God bless drugs. If sobriety makes
Ian creative, God bless sobriety. What business is it of anyones what Ian
does to relax. To all you people who have met Ian: I am jealous. Ian and
Eric Clapton are two people I would love to meet just to say thank you. I
have been getting the SCC for a month or so and love the fact that I am not
alone in this world. Ian and the boys have not done Mother Goose live in
many a year and the thought of this years tour has me on the edge of my
seat. I recently picked up a boot called Too Old To, you know the rest,
What a great album. Anyone with info on videos please e-mail me and lets
hook up. Here
is a question for Dave, I have a concert program from Stormwatch, any
value to it? Until my next post---Jim
jame...@together.net
"I am the cross to take your nail"
------------------------------
Date: Sun, 21 Apr 1996 00:53:04 -0400 (EDT)
From: Stephen Pastorkovich <stpa...@erols.com>
Subject: Scattered
A few quick (?) words,
I'll get this over with, as I find it the least relevent, but the drug
question seems to be the most common topic...
>From: "Lather. Rinse. Repeat." <j...@dana.ucc.nau.edu>
>Subject: Re: The St. Cleve Chronicle V7 #27
>Firstly, since you don't speak from
>first-hand experience, I'm far less inclined to give your hysterical
>rantings any validity whatever. Secondly, your uninformed and irrational
>attitude offends me because it is exactly that attitude which fuels laws
>that have curtailed and continue to curtail my personal freedom to choose
>what is or is not appropriate for _me_.
So because I've never been in combat, if I spoke hysterically about the
undesirability of war, it would have no validity whatever? I'm all for your
personal freedom (if yours goes, mine goes), but if one chooses to foster an
industry which leads directly to huge medical, industrial and (violent)
criminal costs that I ultimatly must pay, one might consider that all
decisions are not made in a vacuum. Others may face consequences, too. I'm
with Ian on this one.
On the 20th collection: Unless I'm mistaken, in the Rare Tracks, there's a
song called "Coronach" which mentions "Albion"; I understand that's an older
name for Britain (or just England?) This is followed by a line, oft
repeated, that sounds like "Your Annie Auld", or "Your Auntie Road" or some
such. My only guess is that it's Scottish dialect or Welsh or something I
have no familiarity with. Any clues? Also, I heard that the song was
written for a British TV show. Anyone have any details on that?
My first Tull concert was recently in Washington, DC. Ian kicking himself
around in the wheelchair reminded me of my dog, who lost a leg to a truck.
Couldn't use a limb, but still bouncing around, still determined to make me
happy. After years of devoted listening, to finally see Tull, and they're a
bunch of balding, graying old guys led by a dude in a wheelchair. That I
should live so long! (I'm 30.) I loved every minute of it. What a show.
I'd been worried about Ian's voice, but that's back. I wasn't happy with
much from Under Wraps on, although Rock Island et. al. were ok, but UW and
Catfish Rising really were bitter disappointments to me. I thought Ian's
muse was dead; he'd once been a real poet. But the muse, like the voice,
has returned in RtB. It may be different, but not in the lame way Under
Wraps was different.
Thanks for the help,
Steve
------------------------------
Subject: Women & Rock
From: ju...@vikings.overture.pha.pa.us (Julie Morgen)
Date: Sat, 20 Apr 96 23:14:06 EDT
Organization: Upper Merion Area High School
This is in reply to TR's little discourse on women & rock.
Maybe I ought to check my sex because I REALLY ENJOY hard
driving music & I always thought I was a woman. Perhaps my
husband & 2 kids are confused also! In addition to Tull,
you'll find me listening to Def Leppard, Led Zep, Stone
Temple Pilots, Nirvana, Ten Years After, Robin Trower,
Ted Nugent, Stray Cats - to name just a few. I like the
kick-start that the music gives me, I feel alive and sexy!
Just because I'm a woman doesn't mean I can't appreciate
fine musicanship or raw vocals. In fact, a man who sings
with an edge is far more interesting than, let's say,
Michael Bolton. Give me a "dangerous" man any day!
So TR, don't generalize, or you & this woman might just
have to step outside.
Julie Morgen
------------------------------
Date: Sun, 21 Apr 1996 17:37:44 -0400
Subject: Regis/Kathy
From: Rich....@platinum.nb.net, or Leah Bonazza <nags...@nb.net>
In reply to Mark A. Hausman question on the original date of Tull
appearing on Regis/Kathy Show: It was Nov. 15th 1996. It was the day
before I saw Tull in Pgh. The show I saw featured most of RTB. In the
26 years I have been following the band it was their best live concert
yet. My lovely wife who has put up with my total Tullism saw the band
for only her second time. This time she walked away a convert. Tull has
never sounded as tight as they did that evening and Ian's voice has
greatly approved from the time of their 25th anniversary tour. One last
thing, my daughter Leah has just started to practice with the flute.
She has made her dad a proud and happy nan.
" I don't believe you, you have the damned thing all wrong, he's
not the kind you have to wind up on Sunday".
Long may Tull rock.
Rich Bonazza
------------------------------
Date: Mon, 22 Apr 1996 17:35:48 +1000
From: Paul Rodenhuis <pa...@pwd.nsw.gov.au>
Subject: Yippee! I'm going to third Sydney concert!
I had been busy/tired/slack and hadn't got around to
booking for the first two concerts. :-( Unbelievable,
I know!
Anyway I got to the theatre the other day and they told me
that a third concert was going on sale today. I was there
at 8:30, with only 4 people in front of me. I thought
there might have been a big queue, so I had the mobile
phone just in case I wanted to make a phone booking.
I got middle of second row! Great! BTW the price for this tour
is AUD$52 which is equivalent to USD40.50. How does this
compare to Stateside prices?
paulr
| Paul Rodenhuis | Manager Large Systems | Information Services Branch |
| NSW Public Works Dept | pa...@pwd.nsw.gov.au | +61-2-372-7037 FAX 7022 |
| VK2AHB@VK2XY Home +61-2-449-9212 Fax +61-2-449-7827 | Mobil 0411-250-446 |
------------------------------
Date: Mon, 22 Apr 1996 4:34:53 -0400 (EDT)
From: Alavf Redshorts <COCKI...@rascal.guilford.edu>
Subject: Tull/Yes . . . Tori?
Re: John Codispoti's post comparing Tull and Rush's differing songs of
the title "Sweet Dream." I feel inclined to point out Tori Amos' own
version, available on the Winter single. Hers seems to be the middle road
between the darker Tull and lighter Yes songs.
sorry for the diversion
------------------------------
From: rud...@mv3195.edison.cc.oh.us
Date: Mon, 22 Apr 96 10:47:56 EST
Subject: Greek tragedies
David Charlap noted, concerning "Hare Who Lost His Spectacles"
>It parallels the classic Greek tragedies where short comic-relief bits
>would be inserted in various to break the tension for the audience.
Beware, there be theatre professors on this list :-) who say that inserting
short comic-relief bits was *not* a feature of classic Greek tragedy.
I can't recall any of the surviving Greek tragedies that have such
comic relief. The Greeks would customarily put a "Satyr play" at the
end of one of their tragic trilogies, presumably to provide relief, but
that's the only similar feature.
Now, Shakespeare *always* puts a little comic scene right after the
most intense action in his tragedies. Like in MacBeth, where the
murder of Duncan is followed by the hilarious "Porter at the gates of Hell"
scene, or Romeo and Juliet, where all the weeping and wailing that
accompanies Juliet's "borrowed death" is followed by Gregory and the
musicians making puns at each other.
Shakespeare was strongly inspired by the earlier medieval styles of
theatre--which is where "Passion Plays" originated.
So I'd say: Medieval, even Shakespearean--certainly not Greek.
TR
------------------------------
Date: Mon, 22 Apr 1996 14:04:58 -0400
From: John Krout - Unisys <kr...@federal.unisys.com>
Subject: Tull and ELP show, August 23, Meriweather Post Pavillion, MD
This was announced as August 27 in the Washington Post on Friday,
April 19. The venue's Web page said the date was June 27. I inquired
about the discrepancy. The pagemaster responded that the correct date
is August 23, and has changed the Web page accordingly.
------------------------------
Date: Mon, 22 Apr 1996 16:25:08 -0500 (CDT)
From: FredCorp <fred...@paranoia.com>
cc: mly...@student.uwsuper.edu
Subject: Your Least Favorite Tull Songs!
Howdy doody fellow Tullsters!
New discussion thread: what are your *least* favorite Tull songs?
Now before you flame me to kingdon come, I absolutely LOVE Tull, and I
have all their studio albums, and I mean no disrespect. But let's face
it: some of their songs just aren't that good.
I'd love to hear from you all about this. And no fair copping out and
saying "all of Under Wraps" or something, I want individual songs. My
own personal nominee: "Watching Me, Watching You" from BatB. There's a
good number of Tull songs I don't especially like, but this one takes the
cake. I skip it when I can.
- - Mike ("Disco Stu")
/---------------------------------\
|= FredCorp - "Numquam Roga Cur" =|
\---------------------------------/
fred...@paranoia.com - http://www.paranoia.com/~fredcorp
------------------------------
Date: 22 Apr 96 19:45:44 EDT
From: Steve Stewart <10266...@CompuServe.COM>
Subject: Catfish Rising
Hey Folks!
I just ordered *Catfish* from the local CD store yesterday, and I am
really excited about it, so I thought I'd write you and share my
excitement. This is supposedly the worst CD ever produced by Ian and
the boys. When I told my mother that, she became very confused as to
why I wanted it. I told her that I am going to have to get it
eventually in order to finish my colection, and I would really like to
know what all the fuss is about. Is this CD really that bad? A lot
of you guys (and gal's) said that RtB was bad, but I would put that in
my top three (first and second being TAAB and APP). *A* was really
bad too, but I was able to find many great points throughout that
album. It seems as though, so far, I have been unable to absolutely
hate anything produced by Jethro Tull. Could this be it? The only
truly terrible JT production (*JT* not to be confused with James
Taylor, because, IMHO, there were obviously many terrible things
associated with him. That was not intended to be flame-bait, it just
happens to be the way I feel.). Anyways, I look foreward to listening
to this CD and will let you all know what I think of it in two weeks.
Thank You,
Tim Stewart
"As you cross the wilderness, spinning in your emptiness: you feel you
have to pray."
[I don't think the general consensus is that CR is the worst Tull
album. I certainly like it; very bluesy. Hope you're not too
disappointed when you find it might not be the worst! :) Differing
opinions are what make this list interesting! -ds]
------------------------------
Date: Mon, 22 Apr 1996 23:59:51 -0500 (CDT)
From: Mike Lenox <le...@vortex.atmos.uah.edu>
Subject: On the other hand...
I don't know too many Deadhead that would miss a Tull show...
Even if they were on the same night.
>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<
Mike Lenox "I'm sorry you've got a head like a potato.
le...@atmos.uah.edu I really am."
My Home Page-> Zappa
http://fly.hiwaay.net/~lenox/home.html
------------------------------
Date: Mon, 22 Apr 1996 12:55:20 -0700
From: George Hulseman <ge...@opendoor.com>
Subject: Out-of-place Tull songs
Someone mentioned a few posts ago that some of Jethro Tull's songs don't
seem to fit in with the other songs. In fact, the Nightcap album
contains many songs that didn't make the final cut on various Tull
albums because "they were to similar, or in some cases too different."
I can think of several examples of this phenomenon. Where the hell does
"Teacher" come from on the Benefit album? It sounds like it came from
another planet or something compared to the rest of the album, because
it so polished and sophisticated. How about Aqualung, the song? I know
the album kind of revolves around this song, but it seems different from
the other somgs. Can't quite put my finger on it.
On Warchild, Bungle in the Jungle always sounds completely out of place.
Finally, the entire album Under Wraps seems out of place with the Tull
discography. Ian Anderson sounds like he underwent surgery on his vocal
chords. Ironically, this album was selected Best Heavy Metal/Hard Rock
by the Grammy people. What was the group trying to accomlish with this
album?
Thanks,
George Hulseman
------------------------------
Date: 23 Apr 96 15:54:31 EDT
From: "Paul H. Haefner" <10410...@CompuServe.COM>
Subject: Point of View (or two)
Greetings friends in Tull.
A couple quick snippets to fire the imagination.
First on Roots to Branches: Experience has led me to surmise that Tull
fans fall in one of three categories (thin ice, I agree): the rock fans
(Aqualung, Benefit, Passion Play); the "Celtic" fans (Songs from the Wood,
Heavy Horses, Bursting Out) and a final group that spans the group's entire
work.
I'm placing myself in the last group ("it's good to be the King..."),
and if I interpret correctly, the Celtic fans are having the hardest time
accepting Roots to Branches.
It is hard to give up a genre that the band performed so enjoyably,
but I think it only underlines how wonderful that whole phase was, and how
singularly brilliant Songs from the Woods was. Not a flash in the pan, but
rather a musical height most bands can only dream about, let alone reach.
But I think you're missing the point (that does not need making), if
you pass over the remainder of Tull's works and see how Roots fits rather
nicely alongside much of the bands earliest work, in my opinion.
I was encouraged and thrilled to recently see the wonderful defense of
Dangerous Veils, which absolutely puts me in mind of Benefit.
Secondly, I must admit that after the Light Music and Divinities
Tours, I too was ready to hang up the Tull tour dates due mostly to the
unbearable sight and sound of Ian screeching through the night. But I gave the
band one more shot on March 25th in Philly and was hammered squarely between
the eyes with a stunning show that blew me away.
Highlights for me included watching Ian play the acoustic intro to My
God and a version of Budapest that left everyone in the house physically
drained. I do believe being restricted to a wheelchair forced Ian and the boys
to concentrate more fully on their musical delivery and the results were
astounding.
Quick thought: Would an audience of upper-crust Main Liners (as we
call the blue bloods in Philly), stand for three hours in an old warehouse to
hear a philharmonic orchestra? Think about it.
Thirdly, I'm picking up vibes that Jethro (NOT JED!) Tull will be
doing a double bill with Emerson, Lake and Palmer this summer. Can this be?
Too bad as double bills seem to always give you a shortened set list.
Finally, has anyone ever heard Ian talk about how he selects a concert
set list. Although I've heard Aqualung and Locomotive Breath enough, thank
you, I'm always amazed that the band is likely to play anything from its two
decade history, something I believe most bands would consider commercial
suicide.
Comment? Discussion? Dissent? Approval?
-- pH (Balanced)
P.S. Do you ever get the feeling that the story's too damned real and
in the present...tense?
------------------------------
From: rud...@mv3195.edison.cc.oh.us
Date: Tue, 23 Apr 96 16:28:07 EST
Subject: bending flute notes
JOHN SIMPSON, in his wonderfully detailed and sparklingly written review
of the Atlanta concert, asked parenthetically "how does one bend a note
on a flute anyway?"
Hey John, anyone with an email address of "Feste" must be a Shakespearean
as well as a Tullian, so I'll give you lots of an answer...there are
many ways to bend a flute note. Some more common ones are:
1) Roll the flute. The orientation of the blow-hole to the lips causes
the pitch to change. Roll the flute toward you so that the distance between
upper lip and hole is shorter, and the pitch goes down. Roll outward, and
the pitch goes up. This is the technique Ian uses most often I think,
especially during the period roughly around "Stormwatch".
2) Blow harder or softer. Harder makes the pitch go up (also the volume)
and softer makes it go down (volume too). Of course, virtuoso flutists like
Ian, when playing louder or softer, normally compensate for the change in
pitch by rolling the flute--but sometimes this technique is available.
3) Slide a finger. If you have an open-holed flute, you can slide from one
note to the next by sliding the finger across the hole instead of covering
it deftly all at once. You can get a really huge note-bend this way if
you're good; it's a popular technique for penny-whistle players.
4) Use extra holes. For example, if you want to bend an "a" down a little,
add some right-hand fingerholes to it.
5) Use alternate overtones. For example, you can switch from the standard
high B (second overtone series with thumb and 1st finger) to a slightly
darker, flatter one by using thumb and fingers 1 thru 6 in the 3rd
overtone series. So if you wanted to bend the second-octave B, finger like
a low "D" but blow harder and go into the third register. I used to do
this (at my flute teacher's suggestion) while playing Debussy's "Syrinx" and
it's easier to do than it is to explain...
6) Mute the blow hole. If you're playing a tone that only needs the left
hand (G thru C) then you can use the right hand to fudge around the edges
of the blow hole, thus altering the tone. No record that Ian does this--
7) Do throat tone. Hum the same note you're playing on the flute, and
bend the vocal note--which will do strange things to the flute note. Done
properly, you can get three pitches at once this way.
8) Change embouchere (musican term: means "the way you hold your lips,
teeth and tongue to play the wind instrument). If you make your lips harder
or looser or more open or less open, you can change the pitch a little (and
the tone a whole lot).
Those are the ones I can think of--any other flutists got some?
TR (always looking for new ways to abuse the flute)
------------------------------
Date: Tue, 23 Apr 1996 16:21:56 +0410
From: mcor...@tahiti.netreach.net (Madison)
Subject: Re: The St. Cleve Chronicle V7 #37
I know that this is a Tull newsletter, but does anyone out there
also listen to DIRE STRAITS? After all, Crest has many similarities to
many of the Straits' songs. After all. Straits is only one echelon below
Tull. Hey, If anyone knows of a good Dire Straits Newsletter, or has any
recent info about the band, please write me at
mcor...@tahiti.netreach.net.
Thank You
Jamie Corbman (Madison).
------------------------------
Date: Tue, 23 Apr 1996 16:31:12 -0500
From: Anthony James <jam...@hqamc.safb.af.mil>
Subject: The St. Cleve Chronicle V7 #37 -Reply
Dearest Tullians,
Help! Like Brad Sandidge, SCC #37, I am in search of the 20th
Anniversary, CD version, boxed set. Back in '88 I picked up the cassette
version and have been kicking myself ever since (and I'm really sore). If
anyone out there can tell me where to find one I'll be eternally grateful.
My set is still in good shape, but I'd love to be able to listen to Strip
Cartoon, Jack Frost and the Hooded Crow, and others on my CD. The
abridged version of the set just didn't do it for me.
------------------------------
Date: Tue, 23 Apr 1996 19:14:09 -0500
From: Tony DeRosa <to...@mailbag.com>
Subject: Other Influences,Yes, Renaissance, ELP, Travers
Hi all,
Been a while since I dropped a note, been reading all though.
There's been a bit of an ongoing discussion here about Tull & Rush..
I'd like to add a little to that.
I'm 32, been a Tull fan since I was introduced to Heavy Horses in '78.
Have it all, love it all...my favorite, goes without saying.
That doesn't by any means mean I don't greatly love other bands.
I'm a musician, been a guitarist for 18 years or so, been playing " Rock
Flute" for the past 8.,( and no, to those of you who might take offense at
the suspected pretentiousness of that, I only give it for background, helps
explain where my head was at at an earlier time..).
I have to give Rush credit for sparking my interest in guitar, the first
song I learned was Working Man, then proceded to disect the Fly by Night
album, Caress of Steel, 2112, and A farewell to Kings, Hemispheres.
To this day Caress of Steel, specificly the 2'nd side remains one of if not
my favorite pieces of Rush music.
I have to add my vote to the group that lost most interest in Rush after
Moving Pictures. Signals on, hasn't done the same thing for me as the
earlier stuff, it seems to me to lack the same energy. Please don't start a
flame war over this, I am giving the new stuff another listen, some very
talented players I know have been harrassing me for years over this, I'm
trying to appreciate the later stuff in it's own light. For me though my
youth and early energies were locked there. I think a big part of the
similarity, at least for me is twofold. On the one hand, obviously is the
great musicianship of the players of both bands, also the "busy", technicly
oriented writing styles, hard to get board with either. But there's also the
lyrical style. At the time Heavy Horses came out, I was listening to the
early Rush, along with Renaissance and Yes, alot of that time periods music
from all those bands, to me, fit in a catagory of what I call Middle Earth
Rock. At the time I was a teenager, I was reading Tolkien and other fantasy
stuff, and the music and lyrics of those groups really fit my mindset at the
time. Great imagery.
Fortunately for all of us, Ian and the gang keep putting out great music,
consistantly, and never repeating an old theme. I've got a Steve Morse
instructional guitar video where he says he never likes to play the same
guitar lick twice, in his words, "can't have that". To me Tull has that
philosophy towards their albums, much to their credit.
If your a Tull fan and you've not heard 70's Renaissance stuff you should
get some at a used record store or somewhwere. Very piano oriented, but it
has that woodsy feel. The lead singer was a woman, Annie Haslam, great
voice. I reccomend, Prolouge, Ashes Are Burning, Scheherazde, A Song For All
Seasons and Carnegie Hall, to name a few. You'll either love it or hate it,
but it's worth a listen. I heard recently that Annie Haslam is working on an
album with Steve Howe.
On that note, Trevor Rabin has left Yes, the present lineup is, Anderson,
White, Wakemann, Howe, and Squire, ( I think). They are supposedly working
on a new album due out soon. Anderson, Bruford, Wakemann & Howe put out an
album by that title,(ABWH), in '89, it's excellent if you like 70's Yes. As
I alluded to earlier, I feel Yes and Tull are children born of the same
mother, Ian took Tull in a more folky direction but the writing styles and
musical influences are similar. Both bands show alot of classical influence
in their music.
I'd be remiss if I didn't mention ELP, if you're not allready familar I
reccomend starting with the album Tarkus, great stuff.
All these bands also have that intensity of musicianship about them that
causes one to frequently have to listen to material you may not have heard
before, numerous times to allow it to sink in. As with alot of tull, so it
goes with alot of theses bands, give the music a chance and time to grow on
you, and you'll get years of enjoyment out of it.
One final note, not in the same grouping but I love it none the less, The
Pat Travers Band.The Making Magic, Heat In The Street, Puttin' it Strait, &
Black Pearl albums epitomize hard rock to me, "my other side". If you like
great guitar work and hard driving busy rock, get ahold of some Travers. The
bassist, Peter Mars Cowling, was one of the strongest bassists I've ever
listened to, along with great guitar from Pat Travers and Pat Thrall...
The jist of this is mostly aimed at younger Tull fans who may not have had a
chance to hear these bands in their prime, thanks to the rest of you for
bearing with it...'till next time,
See you all, love this Chronicle, thanks again to Dave Steiner, great job.
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To submit material to the The St. Cleve Chronicle, send mail to:
For administrative matters (additions, deletions, changes, etc.),
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Back issues of The St. Cleve Chronicle are available via anonymous ftp
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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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