Jethro tull bibliography

The first album of the s was intended to be Anderson's first solo album, but after pressure from Chrysalis Records he agreed to release it as a Jethro Tull album. The album featured prominent use of synthesisers and its style contrasted sharply with the established Tull sound. It was given the title Ataken from the labels on the master tapes of the scrapped solo album, which were marked "A" for "Anderson".

A was released in mid In keeping with the mood of innovation surrounding the album, Jethro Tull developed a music video titled Slipstream. The video, released inwas directed by David Malletwho had directed the pioneering " Ashes to Ashes " video for David Bowie. Jobson and Craney left following the A tour and the band had a succession of temporary drummers.

Gerry Conway left after deciding he could not be the one to replace Barlow; [ citation needed ] Phil Collins played with the band at the first Prince's Trust concert in ; and Paul Burgess played for the US leg of the Broadsword and the Beast tour. Doane Perry started drumming for the jethro tull bibliography in The band did not release an album in ; this was the first year that the band have not release anything.

However, recording sessions took place with Anderson, Barre, Pegg, and Conway in which Anderson played keyboards. Some of the tracks recorded were later released on the Nightcap compilation in In Peter-John Vettese joined on keyboards and the band returned to a folkier sound, still with synthesisers, for 's The Broadsword and the Beast. The ensuing concert tour was well attended and the shows featured one of the group's last indulgences in theatricality, in which the stage was built to resemble a Viking longship and the band performed in medieval costume.

An Anderson solo album actually an Anderson-Vettese collaboration appeared in in the form of the heavily electronic Walk into Light. InJethro Tull released Under Wrapsanother electronic album which, like Walk into Lightused a drum machine instead of a live drummer. Although the band had reportedly liked the sound Barre even considered the album one of his personal favouritesit was not well received.

The video for "Lap of Luxury" was given moderate rotation on the newly influential MTV music video channel. Vettese quit the band after the tour, angry at critics for bad reviews of The Broadsword and the BeastWalk into Light and Under Wraps[ 92 ] and the band took a three-year break because of vocal cord problems Anderson had developed while touring the demanding Under Wraps material.

During this hiatus, Anderson continued to oversee the salmon farm on the Isle of Skye he had founded in The single "Coronach" was released in the UK in after it was used as the theme tune for a Channel 4 television programme called "Blood of the British". Jethro Tull returned in with Crest of a Knave. With Vettese absent, Anderson contributed synth programming, and the album featured early Tull 's-style electric guitar from Martin Barre.

Three of the tracks on the album used a drum machine, with Doane Perry and Gerry Conway sharing drum duties on the others. The album was a critical and commercial success. And Justice for All album. The award was controversial, as many did not consider Tull to be a hard rock band, much less heavy metal. On the advice of their manager, who told them they had no chance of winning, no-one from the band attended the award ceremony.

Anderson joked in an interview, "We do sometimes play our mandolins very loudly. A play on a Grammy comment made by Paul Simon some jethro tull bibliographies before, who thanked Stevie Wonder for the same thing. The style of Crest of a Knave has been compared to that of Dire Straits. Anderson no longer had his previous vocal range and used lower registers, and Barre's guitar sound drifted towards Mark Knopfler 's.

Two songs in particular—"Farm on the Freeway" and "Steel Monkey"— were given heavy radio airplay. The album contained the popular live song "Budapest", the longest song on the album at just over ten minutes, which depicted a backstage scene with a local female stagehand. The band promoted Crest of a Knave with "The Not Quite the World, More the Here and There Tour" on which Anderson played occasional rhythm guitar, the first time in Jethro Tull's history that two electric guitarists had played together on stage.

The set consisted largely of rarities and outtakes from throughout the band's history, including a variety of live and remastered tracks, with a booklet outlining the band's history. Many of the outtakes were later included as bonus tracks on remastered releases of the band's studio albums. In the band released Rock Islandwhich was less successful than Crest of a Knave.

The jethro tull bibliography track, "Kissing Willie", featured bawdy, double-entendre lyrics and over-the-top heavy metal riffing that seemed to make fun of the group's Grammy award win. The accompanying video was not given much airplay because of its sexual imagery. A couple of favourites emerged from the album: "Big Riff and Mando", a wry account of the theft of Barre's prized mandolin by a starstruck fan; and the upbeat "Another Christmas Song", which was re-recorded for the The Jethro Tull Christmas Album release.

Notable tracks included "Rocks on the Road", which featured acoustic guitar and lyrics about urban life; and "Still Loving You Tonight", a bluesy, low-key ballad. The band toured a semi-acoustic show in with Dave Mattacks on drums. At this point in his musical career, Anderson had to re-learn how to play the flute after his daughter, who was taking flute lessons at school, discovered that he used incorrect fingering.

The box set also included the Nightcap compilation album which contained unreleased studio material, mainly from the scrapped pre- A Passion Play album, with many of the flute parts re-recorded. Dave Pegg, Tull's bass player for fifteen years, made the decision to leave the band during the recording of 's Roots to Branches album to concentrate on his work with Fairport Convention.

Anderson had begun writing songs that featured world music influences, and Pegg was unhappy with the musical direction the band was taking. He contributed to only three of the songs on the album, and played his last concerts with Tull in the UK in September Doane Perry, returning as the band's full-time drummer, recruited his friend and respected session bass player Steve Bailey to replace Pegg.

Anderson relinquished control of the rhythm section arrangements, leaving them completely to Bailey and Perry, but despite his studio contributions Bailey did not join the band, and Pegg's eventual replacement as Tull bassist was Jonathan Noycewho took over in October The songs on these albums reflected the musical influences of decades of performing around the world.

These two albums reflected Anderson's feelings about being an old rocker, with songs such as the pensive "Another Harry's Bar", "Wicked Windows" a meditation on reading glassesand the gruff "Wounded, Old and Treacherous". This was the only time that the four original members of the band had played together sinceand the only time that a previous Tull line-up had been reunited.

It was the last studio album to be recorded by the band for nearly 20 years, and it became their biggest commercial success since 's Crest of a Knave. The performance was recorded for broadcast on radio station XM Radio as part of the station's musical milestones "most important albums ever recorded; timeless albums re-recorded by the original artists" project, and was later released as an album, Aqualung Live.

Proceeds from sales of the album were donated to homeless charities, as the 'Aqualung' of the song was a homeless tramp. Bassist Jon Noyce left the band in Marchand keyboard player Andrew Giddings quit in July citing constant touring and not enough time for family. The Best of Acoustic Jethro Tullreleased inwas a song collection of Tull's and Anderson's acoustic performances, taken from various albums, which included a new live acoustic version of "One Brown Mouse" and a live performance of a traditional song attributed to Henry VIII" Pastime with Good Company ".

Inthe jethro tull bibliography were commemorated with a Heritage Award by PRS for Musicand a plaque was placed on the church in Blackpool where the founders of the band had played their first gig in Martin Barre stated in November that there were no current plans for further Jethro Tull work; inhe put his own band together and toured as Martin Barre's New Day.

The new band included former Tull bassist Jonathan Noyce and played mostly Tull material. There will be two solo bands, the Ian Anderson Band and the Martin Barre Band, and long may they exist, and long may they enjoy playing music. He said, "Ian wanted to finish Jethro Tull. Tours of the UK and US followed the release, and the album was performed in its entirety.

Homo Erraticus was a prog-rock concept album which, according to Anderson, "chronicles the weird imaginings of one Ernest T. Bostock and Bunter came across this dusty, unpublished manuscript, written by local amateur historian Ernest T. Parritt, —and entitled Homo Britanicus Erraticus. In Aprilafter the release of Homo ErraticusAnderson stated that in future he would release all his music under his own name.

He said Jethro Tull had "more or less come to an end" during the past 10 years, and that in his twilight years he would prefer to use his own name, "for the most part being composer of virtually all Tull songs and music since ". In Anderson toured the project Jethro Tull — The Rock Opera with the "Ian Anderson Touring Band", performing lyrically modified Tull material and new rock songs about Jethro Tull the agriculturist, with elaborate video productions on stage.

In SeptemberAnderson announced plans for a tour to commemorate the 50th anniversary of Tull's first album, This Was ; and for a new studio album infor which the band line-up comprised Anderson, Hammond, Opahle, O'Hara, and Goodier, all members of Anderson's solo band since On 2 JanuaryAnderson published on jethrotull. Shhhh; keep it a secret On 1 JuneParlophone Records released a track collection featuring all 21 Tull albums, named 50 for 50to celebrate the band's 50th anniversary.

The notes for the 50 for 50 booklet stated that a new album scheduled for would be a solo record by Ian Andersonand not a new album by Jethro Tull. Guitar duties were to have been handled by new member Joe Parrish, Opahle having left the band at the end of to focus on production work and family. The album seamlessly blends elements of acoustic folk music with the more robust sounds of progressive rock, creating a distinct and evocative listening experience.

The lineup for this album featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, John Glascock on bass guitar, John Evan on keyboards, and Barriemore Barlow on drums and percussion. This album introduces a darker, more somber tone compared to its predecessors, reflecting themes of environmental issues, the perils of the sea, and socio-political commentary.

The recording of Stormwatch took place at Maison Rouge Studio in London, during the early months of The lineup for Stormwatch featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, John Glascock on bass guitar, John Evan on keyboards, and Barriemore Barlow on drums and percussion. Critically, Stormwatch received mixed reviews upon its release.

Some praised the album for its bold thematic content and musical experimentation, while others felt it lacked the cohesiveness and charm of the earlier folk-oriented albums. Originally intended as a solo project by Ian Anderson, the album was eventually released under the Jethro Tull name, leading to a significant stylistic change for the band.

This transition reflected the broader musical trends of the early s, with an increased focus on electronic instrumentation and a more modern rock sound. The lineup for A featured a mix of familiar and new faces. Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, and new members Dave Pegg on bass guitar and Mark Craney on drums.

Critically, A received mixed reactions. This album strikes a balance between the synthesizer-driven approach of the early s and the more acoustic, folk-influenced sound of their s work. The thematic content of The Broadsword and the Beast combines medieval and fantasy imagery with contemporary concerns, creating a rich tapestry of storytelling.

The recording of the album took place in the latter part of at Maison Rouge Studios in London. Ian Anderson, continuing his role as the primary creative force behind the band, produced the album, infusing it with a mix of modern and traditional musical styles. This lineup adeptly navigated the diverse styles present in the album, from the electronic-infused rock tracks to the more folk-oriented songs.

Critically, the album was well-received, praised for its synthesis of electronic and folk elements and its imaginative lyrical content. This shift reflects the musical trends of the s, with a prominent use of synthesizers and drum machines, diverging significantly from the folk and progressive rock elements that characterized much of their earlier work.

Under Wraps is notable for its exploration of themes around espionage and modern warfare, lending a cold war era atmosphere to the album. Anderson, who had always been at the creative helm of the band, produced the album, embracing the technological advancements in music production of the time. The lineup for this album saw a departure from traditional rock instrumentation, with a significant focus on electronic sounds.

Ian Anderson handled vocals, flute, and synthesizers, Martin Barre on electric guitar, Dave Pegg on bass guitar, and Peter-John Vettese on keyboards and synthesizers. Critically, Under Wraps received mixed reviews. However, it was less successful than some of their previous albums, reflecting the divisive response from fans and critics alike.

Crest of a Knavereleased inmarked a significant comeback for Jethro Tull, blending elements of their classic rock sound with the more modern influences that had characterized their s work. This album saw the band returning to a more guitar-oriented sound, moving away from the heavy use of synthesizers and electronic elements that had defined their previous albums like Under Wraps.

Crest of a Knave is often celebrated for its successful fusion of traditional rock with contemporary production techniques. Anderson, who had always been a key creative force in the band, produced the album, steering its artistic direction towards a synthesis of classic and modern rock elements. The lineup for this album included Ian Anderson on vocals, flute, and guitar, Martin Barre on electric guitar, and Dave Pegg on bass guitar.

Notably, due to health issues, Anderson was unable to play the flute extensively on this album, leading to a greater emphasis on the guitar. Drum parts were programmed by Anderson and Barre, as the band did not have a permanent drummer at the time. Critically, Crest of a Knave was well-received, lauded for its strong compositions and rejuvenated sound.

The lineup for this album featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, Dave Pegg on bass guitar and mandolin, and Doane Perry on drums. Critically, Rock Island received mixed reviews. Commercially, the album achieved moderate success. Their collective musicianship facilitated a dynamic exploration of various musical terrains, from the upbeat and hard-hitting to the lyrical and introspective.

Commercially, the album performed modestly, reflecting the changing musical tastes of the early s. Roots to Branchesreleased inis a Jethro Tull album that marks a return to a more progressive and world music-influenced sound, blending the traditional with the contemporary. The lineup for this album featured Ian Anderson on vocals, flute, and acoustic guitar, Martin Barre on electric guitar, Dave Pegg on bass guitar, and Doane Perry on drums.

Critically, Roots to Branches was praised for its intricate musical compositions and the successful integration of diverse musical influences.

Jethro tull bibliography

It reached number 20 on the UK Albums Chart, reflecting a positive reception among fans and critics. Released inthis album marked a new chapter for the band, venturing further into the world music influences hinted at in their previous release, Roots to Branches. Musically, J-Tull Dot Com is a vibrant tapestry. The former blends driving rock with swirling Middle Eastern melodies, while the latter incorporates electronic beats and samples alongside traditional instrumentation.

Lyrically, the album explores a range of themes. Some critics praised its adventurous spirit and global influences, while others found it lacking the focus and cohesion of earlier works. However, it has gained a dedicated following over the years, appreciated for its unique sound and willingness to take risks. The album features a unique mix of original compositions and re-imagined Christmas classics.

Musically, the album is a delightful surprise. Expect intricate instrumental passages, jazzy improvisations, and moments of pure rock energy. Some found the blend of styles a bit jarring, but most agreed it was a jethro tull bibliography departure from typical Christmas fare. Thematically, the album delves into the complexities of faith and religion, exploring both their potential for solace and their capacity for division and conflict.

It is a follow-up to The Zealot Gene This is the shortest gap between Jethro Tull studio albums since No Lullaby 3. Sweet Dream 4. Jack in the Green 6. One Brown Mouse 7. A New Day Yesterday 8. Songs from the Wood Thick as a Brick Hunting Girl 3. Conundrum 5. Minstrel in the Gallery 6. Cross-Eyed Mary 7. Quatrain 8. Aqualung 9. Locomotive Breath The Dambusters March Locomotive Breath instr.

Under Wraps 4. Later, That Same Evening 5. Pussy Willow 6. Living In The Past 7. Locomotive Breath 8. Living in the Past 3. Life Is a Long Song 4. Under Wraps 5. Rocks on the Road 6. Nursie 7. One White Duck 9. A New Day Yesterday John Barleycorn Look into the Sun A Christmas Song From a Dead Beat to an Old Greaser This Is Not Love Pussy Willow This Is Not Love 3.

All songs were penned by Ian Anderson and recorded at his home studio. This marks the last Tull album with Dave Pegg on bass and the first with keyboardist Andrew Giddings as an official member. It was also their final album under long-time label Chrysalis Records. A remastered edition was released in January Although they did release a Christmas album init featured a mix of new songs, re-recordings, and traditional Christmas music arrangements.

With its release, Jethro Tull continues to push the boundaries of their signature sound, incorporating elements of blues rock, jazz fusion, English folk, hard rock, and classical music. Thanks for Visit! Tags: Albums. July 18, September 15, July 2, St Ives, N. Retrieved 9 June GfK Entertainment. Retrieved 16 November Retrieved 4 September Retrieved 15 November British Phonographic Industry.

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