A Collection Of Tull Tales: Tribute to Jethro Tull (1996)

Siguiendo con la serie de tributos a las bandas clásicas del progresivo, no podía faltar el correspondiente reconocimiento a los legendarios Jethro Tull a cargo de un ejercito de músicos incluido a los hermanos Gardner, Robert Berry y los mismísimos John Wetton y Keith Emerson entre muchos otros pasando por miembros originales de la banda. Un disco heterogéneo con versiones bastante libres para los clásicos de Jethro Tull, que bien puede encontrar reparos, así como quienes pueden encontrar revitalizadas de energía y originalidad estas versiones. Junto con la música incluyo las notas del álbum en que los artistas implicados en este proyecto comparte sus experiencias personales con relación a Jethro Tull tanto desde el punto de vista musical, así como personal.

1. TULL TALE (2:35)
Magellan featuring Stan Johnson
Stan Johnson – Flute;
Trent Gardner – Keyboards;
Roger Patterson – Percussion;
Original Material and Arrangement by Trent Gardner (Quill in Hand, BMI)
Recorded at Studio Sasquatch, CA April 1, 1996 Produced by Magellan. Mixed at Mardell Productions.
Thanks to Wayne Gardner and Bob Powell for technical assistance.

2. AQUALUNG (8:09)
Performed and Produced by Magellan Trent Gardner – Vocals and Keyboards; Wayne Gardner – Guitars and Bass;
Roger Patterson – Drams Recorded at Studio Sasquatch, CA. Arranged and Engineered by Trent Gardner.

Mixed in Sacramento at Paradise Studios by Craig Long and Kirt Shearer in November, 1995.

The music of Jethro Tull speaks for itself. However, I must say that no individual has more inspired me to create music than has Ian Anderson. His unique gifts of compositional prowess combined with consummate skills as lyricist and performer; put him in a special category of one. To Ian, our best wishes and most heartfelt thanks . . .
—    Trent Gardner, Magellan
P.S. Hope you don’t mind the ending.

3. UP THE POOL (3:01)
Roy Harper – Vocals and Guitar;
Colm O’Sullivan – Keyboard and effects
Re-arranged by Roy Harper 1996 with apologies for minor chances.
Recorded by Paddy McNicholl at Leap.

I first met Tull in the late sixties when we did a number of dates and tours together. I can remember one of them being in Wales where we shared a venue with a cricket match. I was more interested in whether or not I could scrounge a game than in playing the guitar that particular day. I used to travel to gigs on the train and as ‘liquid refreshment’ was to be had on most journeys and throughout the ensuing night, I tend to file that particular era of my Life into the archive under “occasional frightening flashback. ” Like Mick Abrahams suddenly appearing as an angry perspirationally challenged Pre-Raphaelite Lady of Shalot mutant in purple cuban heels! There was obviously more than bubbles in Watneys Red Barrel. It was always served at body heat in the summer. Drop a tea bag in it for ten minutes and you could have the worst of two worlds. These were the days when Ian first collected the tag of”the one legged flute player.” He just did this in an attempt to hold his bladder in but eventually discovered the true yoga in it and was eventually able to hold everything in, including the actual notes. We, none of us, ever let him down though. We’ve hallucinated every last one of them for him ever since! Seriously, there are two of the early gigs that stand out for me. The first one was just a brilliant day. That was the first Hyde Park free concert. The entire bill was Jethro Tull, Roy Harper, Tyrannosaurus Rex and Pink Floyd. It was a beautiful sunny day in London and ten or fifteen thousand people turned up and everyone played well. The second was a gig that Tull did at Kempton race course where they played so well that they converted thousands in one go. I came away from that knowing that they had just become heavy weights.

On a more personal note, I have read somewhere that Ian has said that he only left Blackpool because I did. The difference at the time would probably have been that Ian knew that he’d left. Blackpool was a strange place to grow up in. There are very few places like it on earth. There are perhaps more these days but back then, there were very few. Brighton, Atlantic City and Coney Island are the nearest three, but they just don’t come close. Blackpool has a nineteenth century undertone and some strange statistics. Like the fact that when I was young the town’s population in winter was 132,000 but in summer this grew in a matter of days to four million plus. This presented all kinds of unusual circumstances. Like for instance, there was necessarily a big city pólice forcé. Which in the winter wasn’t needed. I was always arrested in the winter. Up The Pool takes a whimsical look at the attractions and whilst putting the political landscape in place, justifiably ignores the uglier aspects in favour of humour. Ian and I owe one hell of a lot to the place.
We spent all our formative years in a place where people go for a slice of fantasy. Up The Pool
—    Roy Harper

John Wetton – Vocals;
Mick Abrahams – Guitar;
Clive Bunker – Drums; Glenn Cornick – Bass;
Ian McDonald – Flute;
Phil Manzanera – Guitar;
Robert Berry – Keyboards
John Wetton Vocal

Engineered by Ash Howes and Recorded at Gallery Studios, Surrey England.
Ian McDonald Flute Engineered by Will Schillinger and Chris Rushin and Recorded at Pilot Recording Studios, NYC. Additional Recording Engineered by Joe Franco at Beatstreet Productions, NYC., March 1996. Glenn Cornick’s bass parts were recorded by Larry Samson and engineered by Brian Webster.

There was a quote on network TV last night when someone said “If you remember Jethro Tull, you were in college in the ‘70s.” Well, I was at college in the ’60s, and I saw the original band in Bournemouth. I was in King Crimson in the ‘70s, and I saw them do “A Passion Play” on a day off in Texas, with my Houstonian girlfriend. Martin and Barry were particularly friendly backstage, and we thoroughly enjoyed the show. I also had the opportunity to open for them on three extremely lengthy US tours in 1979, with my band UK, and got to know their music vicariously. To my knowledge, they did not play “Nothing Is Easy” on any one occasion when I saw them. But I sang it on this CD, and if anything were ever easy, “This Was” —    John Wetton

I saw their first performance in Hyde Park at the beginning and Roxy’s first date in the USA was supporting them at Madison Square Garden.
—    Phil Manzanera

5. MOTHER GOOSE (4:23)
Performed by Lief Sorbye
Lief Sorbye – Vocals, Mandolín, Flutes and Octave Mandola
Mike Varney – Lead Guitar;
Robert Berry – Keyboards, Guitar, Bass and Drums

Arranged by Lief Sorbye and Mike Varney Produced, Engineered and Mixed by Robert Berry at Soundtek Studios, Campbell, CA

I’ve always liked this song, it has the innocence and childlike quality of a fairy tale, but told to the tellers offairy tales. It seems to warn these tellers not to lose the moral in the florid details of the tale itself. The melody is Celtic in style and I have given it a distinct folk-rock feel.
—    Lief Sorbye

Robert Berry – Instrumentation and Vocals;
Lief Sorbye – Bodhran
Recorded and mixed at Soundtek Studíos, Campbell, CA

In the late ‘70s I had a band called Hush. In the beginning we were the local prog-rock cover band. We covered all the greatprog bands like Yes, Genesis and ELP. We also considered Jethro Tull in that category. We used to start our set with Minstrel in the Gallery. Because of its strong riffs and powerful rhythm itgot the audience on its feet and the night was off and running. It was also a good song toplay first when there wasnt time for a sound check. The intro was mostly guitar riff so it was easy to start the mix with a loud guitar. Then the verse broke down to drums and guitar so the sound man could concentrate on the vocal and drum sound. The bass and keyboards could be set by the time the first chorus started. Since this was the sacrificial first song it’s only fitting that I give it my best shot. The added a few of my own touches of Celtic influence to pay tribute to the roots that feel made Tull a unique and great band. —    Robert Berry

Performed by Echolyn
Arrangement by Still;
Brett Kull – Acoustic and Electric Guitar;
Whistling and Backing Vocals;
Ray Weston – Bass;
Jaymar Piano; Lead and Backing Vocals;
Paul Ramsey – Drums
Recorded at The Studio, West Point, PA immediately after learning it.

When I was 15, I decided it was time to buy a Jethro Tull album. “Thick As A Brick” jumped out at me in the album rack because it was one of the few songs I knew; so I bought it. On the front cover was a store sticker that proclaimed, Contains The Hit, “Thick As A Brick. ” Little did I know that the song was more than what was being played on the radio, a whole lot more …
—    Brett Kull, Echolyn

I once heard that he had something to do with inventing the tractor or the plow, something to that effect. Since I’ve ridden a tractor; with a plow on it can definitely see where he was coming from. Good going Jethro!
—    Ray Weston, Echolyn

8. CAT’S SQUIRREL (5:52)

Charlie Musselwhite – Harmonica;
Derek Trucks – Slide Guitar;
Mick Abrahams – Guitar;
Clive Bunker – Drums;
Mike Summerland – Bass;
Robert Berry – Keyboards
Charlie Musselwhite appears courtesy of Alligator Records.
Derek Trucks appears courtesy of Odum-Meaders Mgmt.

9. TO CRY YOU A SONG (5:10)
Glenn Hughes – Lead Vocals;
Mick Abrahams – Guitar;
Clive Bunker – Drums;
Glenn Cornick – Bass;
Keyboards by Derek Sherinian and Robert Berry

I’ve always been a fan of good music that was a bit different. Jethro Tull was one of those extraordinary, unique bands that doesn’t come along very often.
—    Glenn Hughes

Jethro Tull was a very big part of a very small part of my life. I have some great memories and some not so great ones, but the band gave me opportunities that I might not otherwise have had. My style of playing was greatly influenced by Ian’s style of songwriting, as my playing influenced the sound of the finished product. It was very interesting, after 25 years, to re-approach some of my favorite Tull songs for this project. It was also a pleasure to play again with Clive Bunker, although a shame that we had to record our respective parts on opposite sides of the Atlantic. Maybe one day we might get to play together on the same stage or in the same studio.

I waspleased that the songs still stood up so well after this length of time, and to see that we had got them right the first time around as there wasn’t much room for improvement over the original arrangement. My thanks to the people who put this project together and to the people who have followed the band over all these years. Also, my special thanks to my friend, guitar teacher and producer Larry Samson who was the greatest help to me in this project.
—    Glenn Cornick

Robby Steinhardt – Vocals and Violín;
Ian McDonald – Flute;
Mick Abrahams – Guitar;
Phil Manzanera and Robert Berry – Guitar;
Clive Bunker – Drums;
Glenn Cornick – Bass;
Mike Wible – Keyboards

Robby Steinhardt appears courtesy of Big Dog Productions.
Special tkanks to Rick Moon, Howard Helm and to the Big Dogs, Nick and Michele Fa-Kouri.

The first time I heard the band it was truly unlike anything I had ever experienced. Stimulating comes to mind. I was drawn in from that first listen (amazingly it was New Day Yesterday that I heard). Since then Tve been a die hard fan. In fact, as I write this I am holding fourth row tickets to the show in Tampa tonight! It is truly an honor to be involved in this project.
—    Robby Steinhardt

11. TEACHER (3:59)
Wolfstone members:
Ivan Drever – Acoustic Guitar,
Stuart Eaglesham – Vocals, and Duncan Chisholm –
Fiddle; Derek Skerinian – Keyboards;
Mick Abrahams – Guitar;
Clive Bunker – Drums;
Glenn Cornick – Bass
Recorded at CAP Recording Studio, Crask of Aigas, Beauly and engineer ed by K.M.
Wolfstone appear courtesy of Green Linnet Records, Inc.

We have~ always respected the work of Jethro Tull, recording “Teacher” was a challenge, a challenge which we were delighted to have a bash at. Hope you like it!
—    Wolfstone

Keith Emerson – Keyboards;
Mick Abrahams – Guitar;
Clive Bunker – Drums;
Glenn Cornick – Bass

In December of 1970 a popular music publication “The Melody Maker”published a list of imaginary Christmas gifts they would love to offer the stars, “.. . who have made 1970 such a wonderful and stimulating period in our Lives. ” They chose a barrel organ for myself and for Ian Anderson, a wooden leg. Unfortunately the British music press were not always this generous in the mid-seventies. After Jethro Tull had received some very unjust, harsh criticism, they announced that they would not be playing in England again. I could empathize with them after reading certain E.L.P. reviews. Tull’s attitude was one of “— It! If you don’t like us, then we’re not gonna play here anymore. ” When I had “The Nice” in the late ‘60s I felt a certain affinity with Ian as we were both fronting our individual bands with unlikely axes. The flute, to my knowledge, had had more of a place in the jazz community, played by the likes of Roland Kirk, but Ian gave the instrument another dimension, even though he did it on one leg.

The Nice would often find themselves on the same bill as Tull and Ian would always strike me as being particularly well spoken and having an intelligence rarely found in our circuit. He made “no bones” about admitting feeling uncomfortable in the environment saying “he didn’t really have to do this for a living. ” He doesn’t. I understand his salmon farm is doing great. Yeah, lan’s a nice guy. So where’s my salmon, Ian? Very Kind Regards,
—    Keith Emerson

Performed by Tempest with Special Guest Rohert Berry on Keyboards;
Lief Sorhye – Vocals and Flute;
Rob Wullenjohn – Guitar;
Adolfo Lazo – Drums;
Jay Nania – Bass;
Michael Mullen – Violin;
Arranged by Tempest Produced,
Engineered and Mixed by Robert Berry at Soundtek Studios, Campbell, CA

This is a favorite of our audiences, which came into our repertoire by accident. Early in our band’s history, an audience member requested it as an encore. We began to jam on it, and it was received with screams of delight and mad dancing. Need we say more?
—    Tempest

14. LIFE’S A LONG SONG (2:45)
Performed by Dave and Matt Pegg
Matt Pegg – German Flatback Double Bass;
Dave Pegg – Vocals, Martin 1960 0018 Guitar;
Tom Mates Acoustic Guitar, Gibson Al-1916 Mandolin;
Rob Armstrong – Picassophone, Yamaha RX 5 Drum Machine (sans instructions),
Wooden Drum from Oxford
Produced by Dave Pegg.
Engineered by Matthew Davis and Dave Pegg.
Recorded at Woodworms Studio to 16 track ADAT during 10 hours in November 1995.

Life’s a long song — it certainly is — my favorite Ian Anderson song. The last time I heard it on the radio was under duress. My mother was dying and Id been at her bedside when she passed away in a hospital in Birmingham England. Obviously feeling incredibly low —I got into my car to drive home and turned on the radio — Radio 1 (an unusual choice) and guess what came on . . . I’m pleased to have contributed the track and am honored to have been invited to perform an Anderson song. Although no longer a “Tuller” — and certainly no singer — Ian’s songs make you want to sing and having “the flu” gives me an excuse for my inability. My son Matt was visiting us so I forced him to play double bass. He caught the flu in the process — we’re both better now — and he still has his hair.
—    Dave Pegg

Recent years have seen the coming of age of rock music and a plethora of anniversaries: 20 years of this, 25 years of that. Having achieved the inevitable status of “Legendary,” bands from the 60’s and 70’s return, sometimes only briefly, to the public domain. A few deserve such an accolade. Amidst all the furor, the splits, the farewell tours and the eagerly anticipated reformations of so many of their contemporaries, Jethro Tull has always been there touring, making hit albums and ready, willing and able to push into new musical territories.

The roots of Jethro Tull are the blues. But in 1968 Ian Anderson was left as the sole helmsman and the band’s musical direction sought many varied and diverse avenues, so varied in fact, that it is impossible to pigeon-hole a style. Is Tull the hard rock band of 1969-71, with rock classics like Aqualung” and Locomotive Breath” or the kings of progressive rock as evidenced by the impossibly complex epics of the early 70’s, “Thick As A Brick” and “A Passion Play”? And what of the gentler, almostfolk-rock outfit that made “Songs From The Wood”& “Heavy Horses” towards the end of that decade?

It didn’t get any simpler in the 80’s either. Keyboard technology dominated the classic, Grammy-winning “Crest Of A Knave.” In the 90 s the “back to the roots” album “Catfish Rising” appealed to both hard rock and folk-roots fans. And, as if to complete the set, Ian Anderson topped the classical crossover chart in America with his second solo offering, the classically-influenced, new age-inspired offering, “Divinities. ”
The willingness to try something new, to push themselves to new heights and levels of excellence is what makes Jethro Tull so special. In turn, the band has been rewarded with a huge army of fiercely loyal fans ready to follow the band wherever their musical adventure might take them.
“To Cry You A Song …A Collection Of Tull Tales” serves as both a timely tribute to one of the world’s leading bands and a fascinating view to different interpretations of many Tull classics performed by some of the musicians that have been in some way apart of Tull’s history.

—    Dave Rees, Editor A New Day.

“A New Day” is the recognized international independent Jethro Tull quarterly information magazine.
For subscription details please send a s.a.e. within the UK, or an International Reply Coupon from outside the UK to:
A New Day, 75 Wren Way, Farnborough, Hants, GU14 8TA, England.



Productíon Assistance
Robín Black at Black Barn Studios. Surrey, England 
Pre-mastering by Rob Lavaque

Magna Carta wishes to thank Robert Berry for his Great Talent, vision (both literal and figurative) and his positive attitude:
All the managers and busmess people: Bob Laul (Serious Bob Promotion); Rob Shore (Roundtable Management): Bill Hibbler (Texas Funis Syndicale); Larry Samson; Nick Fa- Kouri (Big Dog Productiom); John Boocock (Wolfstone); Wil Sharpe (Carr-Sbarpe Management): Henrietta Musselwhite.
We would also like to extend many thanks to those in volved with the construction of this humble but logistically complex tribute.


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