Hey Jim,
Ok, you've mentioned Thick as a Brick as a personal fave several times. Based on these raves, I'm thinking about picking up the CD. I love Aqualung, but never got into Songs From the Wood, so I'm still a little apprehensive about wasting money on music I wind up not liking (I've been burned many times).
Anyway, track listings on CDNow.com for Thick as a Brick state that this album is merely the title track repeated three times and an annoying "Interview" track (one of these also appears on my Aqualung disc). So, Jim, tell me why you dig this album so much and convince me why I should no longer live without it.
[ January 26, 2004, 12:42 PM: Message edited by: FeverDog ]
Full Version: Jethro Tull
Because it's a great album, that's why!
It's one continuous piece of music. On the CD that you're thinking of buying, it's Part 1 & Part 2, then a live version of some of the first part and then the interview = 4 CD cuing points. The CD has a great remastering job; the original issue was very poor stuff indeed. The remastering is like wiping the grime away from a Renaissance fresco. The remaster also includes a reproduction of the fake newspaper that was included on the LP version (but not the first CD issue). It's a wonderful parody of a small town newspaper but you have to be attuned to British humor or most of it'll sail right over your head.
As mentioned, it's one continous piece of music for 45 minutes. There's many different sections woven together; wonderful acoustic guitar based songs followed by more improvised full-band sections. The lyrics are obtuse but are generally social commentary. Sample:
****************
Really don't mind if you sit this one out.
My words but a whisper -- your deafness a SHOUT
I may make you feel but I can't make you think
Your sperm's in the gutter -- your love's in the sink.
So you ride yourselves over the fields and
You make all your animal deals and
Your wise men don't know how it feels
To be Thick as a Brick.
And the sand-castle virtues are all swept away
In the tidal destruction, the moral melee
The elastic retreat rings the close of play
As the last wave uncovers the newfangled way
But your new shoes are worn at the heels and
Your suntan does rapidly peel and
Your wise men don't know how it feels
To be Thick as a Brick.
****************
And so on.
It's a dense, complicated album full of musical and lyrical twists and turns. It takes mutliple concentrated listens to make it's impact.
And the following album, A Passion Play, is even better IMHO as it's more of the same (one 45 minute track) with better tunes and easier to understand lyrics (a journey thorough Heaven and Hell).
If you're hoping that Thick as A Brick is going to be like Cross-Eyed Mary or Locomotive Breath, (i.e. short, punchy riff-based songs) you might want to avoid it. If you like or are familiar with ELP, Yes and Genesis in their 1971-1974 glory days, you'll love it.
BTW, here's a nice annotated analysis of the lyrics.
Jim Allen
Proud Prog-rock geek
[ October 07, 2002: Message edited by: Jim Allen ]
It's one continuous piece of music. On the CD that you're thinking of buying, it's Part 1 & Part 2, then a live version of some of the first part and then the interview = 4 CD cuing points. The CD has a great remastering job; the original issue was very poor stuff indeed. The remastering is like wiping the grime away from a Renaissance fresco. The remaster also includes a reproduction of the fake newspaper that was included on the LP version (but not the first CD issue). It's a wonderful parody of a small town newspaper but you have to be attuned to British humor or most of it'll sail right over your head.
As mentioned, it's one continous piece of music for 45 minutes. There's many different sections woven together; wonderful acoustic guitar based songs followed by more improvised full-band sections. The lyrics are obtuse but are generally social commentary. Sample:
****************
Really don't mind if you sit this one out.
My words but a whisper -- your deafness a SHOUT
I may make you feel but I can't make you think
Your sperm's in the gutter -- your love's in the sink.
So you ride yourselves over the fields and
You make all your animal deals and
Your wise men don't know how it feels
To be Thick as a Brick.
And the sand-castle virtues are all swept away
In the tidal destruction, the moral melee
The elastic retreat rings the close of play
As the last wave uncovers the newfangled way
But your new shoes are worn at the heels and
Your suntan does rapidly peel and
Your wise men don't know how it feels
To be Thick as a Brick.
****************
And so on.
It's a dense, complicated album full of musical and lyrical twists and turns. It takes mutliple concentrated listens to make it's impact.
And the following album, A Passion Play, is even better IMHO as it's more of the same (one 45 minute track) with better tunes and easier to understand lyrics (a journey thorough Heaven and Hell).
If you're hoping that Thick as A Brick is going to be like Cross-Eyed Mary or Locomotive Breath, (i.e. short, punchy riff-based songs) you might want to avoid it. If you like or are familiar with ELP, Yes and Genesis in their 1971-1974 glory days, you'll love it.
BTW, here's a nice annotated analysis of the lyrics.
Jim Allen
Proud Prog-rock geek
[ October 07, 2002: Message edited by: Jim Allen ]
Yeah, I dig buy Aqualung for those two songs, but the whole album really grew on me after a while. I've heard a little early Yes, and although it's not my favorite style of music, I'll confess that I kinda dig it (oh, the shame of liking prog).
In short, I'm sold. I mean, it's only $15 lost if I hate it, right?
Oh, and the interpretations offered in that link are very thorough! I'll bookmark it for later consumption.
Thanks, Jim!
In short, I'm sold. I mean, it's only $15 lost if I hate it, right?
Oh, and the interpretations offered in that link are very thorough! I'll bookmark it for later consumption.
Thanks, Jim!
[quote]Oh, the shame of liking prog
Well, I'm not ashamed! Sure, prog has some really dodgy elements about it--the Dungeons & Dragons mind-set of some of the fans for example or some of the hippie-era baggage--but I just roll my eyes when non-fans go on and on and on about Rick Wakeman's capes or Keith Emerson stabbing his Hammond. All good, clean fun. There's so many misconceptions about this music it's just unbelievable.
I can more readily understand why people aren't in to the epic length songs. I grew up listening to classical music, thanks to my dad, and so for me, having an 18 minute piece of continuous music was nothing new. But, while Yes loved those 20 minute epics, there's a bunch of shorter, punchier but still very progressive songs from ELP and King Crimson and Gentle Giant, especially. I think one of the things that alienates non-fans is that the songs tend to go through so many time signature/harmonic/texture changes that it's not very immediate music. It does take an effort to get in to and I understand why people can't be bothered. And each one of the bands, though working from the same template, were so different: ELP with it's heavy classical influence, King Crimson's more free jazz approach at times, Yes with it's tight arrangements and vocal harmonies, Genesis with its roots in classic British pop song writing etc. For every 45 minute song (ala Tull) there's a beautiful, aching pop song like The Nightwatch from King Crimson. A lot of people complain that the prog bands took rock away from its roots in the blues and for me, that's its biggest plus. They said "We're not black guys from the American south, we're white British guys. Our roots are folk and classical music, that's what we grew up with".
Live, during their primes (say 1971-1975), ELP, King Crimson, Yes, Gentle Giant, Genesis (with Peter Gabriel, NOT the Phil Collins years), Jethro Tull and Van Der Graaf Generator could hold their own with any live band playing then. OK, except maybe The Who! They actually put on shows, with great lighting, films, effects and so on. In an era where bands would walk on stage, take 10 minutes to tune up, then just stand there with their backs to the audience, that was pretty radical. It was a total package: the bands were great songwriters who went beyond the usual verse/chorus song structures, could play the hell out of their instruments, they wrote really interesting, multi-layered lyrics (except for Yes!) and put on a thrilling live show. I'd put ELP or King Crimson in 1974 up against any of those gahstly, horrible New Saviors of Rock like The Strokes, The Hives, The White Stripes or any of the other Ramones/Stooges clones and ELP & King Crimson would wipe the floor with the lot of 'em.
Yeah, I'm a prog geek. Sing it loud, sing it proud, sing it for 18 minutes. Other recommended albums:
ELP: Emerson, Lake & Palmer, Trilogy, Brain Salad Surgery
King Crimson: In The Court of the Crimson King, Starless and Bible Black, Red.
Yes: The Yes Album, Fragile, Close to the Edge
Genesis: Nursery Cryme, Foxtrot, Selling England by Pound, The Lamb Lies Down on Broadway
Gentle Giant: Three Friends, In A Glass House, Free Hand
Van Der Graaf Generator: H to He Who Am The Only One, Pawn Hearts
Well, I'm not ashamed! Sure, prog has some really dodgy elements about it--the Dungeons & Dragons mind-set of some of the fans for example or some of the hippie-era baggage--but I just roll my eyes when non-fans go on and on and on about Rick Wakeman's capes or Keith Emerson stabbing his Hammond. All good, clean fun. There's so many misconceptions about this music it's just unbelievable.
I can more readily understand why people aren't in to the epic length songs. I grew up listening to classical music, thanks to my dad, and so for me, having an 18 minute piece of continuous music was nothing new. But, while Yes loved those 20 minute epics, there's a bunch of shorter, punchier but still very progressive songs from ELP and King Crimson and Gentle Giant, especially. I think one of the things that alienates non-fans is that the songs tend to go through so many time signature/harmonic/texture changes that it's not very immediate music. It does take an effort to get in to and I understand why people can't be bothered. And each one of the bands, though working from the same template, were so different: ELP with it's heavy classical influence, King Crimson's more free jazz approach at times, Yes with it's tight arrangements and vocal harmonies, Genesis with its roots in classic British pop song writing etc. For every 45 minute song (ala Tull) there's a beautiful, aching pop song like The Nightwatch from King Crimson. A lot of people complain that the prog bands took rock away from its roots in the blues and for me, that's its biggest plus. They said "We're not black guys from the American south, we're white British guys. Our roots are folk and classical music, that's what we grew up with".
Live, during their primes (say 1971-1975), ELP, King Crimson, Yes, Gentle Giant, Genesis (with Peter Gabriel, NOT the Phil Collins years), Jethro Tull and Van Der Graaf Generator could hold their own with any live band playing then. OK, except maybe The Who! They actually put on shows, with great lighting, films, effects and so on. In an era where bands would walk on stage, take 10 minutes to tune up, then just stand there with their backs to the audience, that was pretty radical. It was a total package: the bands were great songwriters who went beyond the usual verse/chorus song structures, could play the hell out of their instruments, they wrote really interesting, multi-layered lyrics (except for Yes!) and put on a thrilling live show. I'd put ELP or King Crimson in 1974 up against any of those gahstly, horrible New Saviors of Rock like The Strokes, The Hives, The White Stripes or any of the other Ramones/Stooges clones and ELP & King Crimson would wipe the floor with the lot of 'em.
Yeah, I'm a prog geek. Sing it loud, sing it proud, sing it for 18 minutes. Other recommended albums:
ELP: Emerson, Lake & Palmer, Trilogy, Brain Salad Surgery
King Crimson: In The Court of the Crimson King, Starless and Bible Black, Red.
Yes: The Yes Album, Fragile, Close to the Edge
Genesis: Nursery Cryme, Foxtrot, Selling England by Pound, The Lamb Lies Down on Broadway
Gentle Giant: Three Friends, In A Glass House, Free Hand
Van Der Graaf Generator: H to He Who Am The Only One, Pawn Hearts
[quote]Originally posted by Jim Allen:
...ELP...
Never mind.
[quote] ...King Crimson: In The Court of the Crimson King, Starless and Bible Black, Red.
Not "Larks' Tongues in Aspic?"
http://www.elephant-talk.com/releases/larks.htm
Twenty-five to thirty years ago, "Easy Money," from that album, was an acid test (hee, hee) to determine the tracking ability of a phono cartridge. 'Course that's no consideration in CD days, but I'm keeping the LP.
A link I think you'll like:
http://www.strawberrybricks.com/
[ October 08, 2002: Message edited by: twin58 ]
...ELP...
Never mind.
[quote] ...King Crimson: In The Court of the Crimson King, Starless and Bible Black, Red.
Not "Larks' Tongues in Aspic?"
http://www.elephant-talk.com/releases/larks.htm
Twenty-five to thirty years ago, "Easy Money," from that album, was an acid test (hee, hee) to determine the tracking ability of a phono cartridge. 'Course that's no consideration in CD days, but I'm keeping the LP.
A link I think you'll like:
http://www.strawberrybricks.com/
[ October 08, 2002: Message edited by: twin58 ]
Great as the cover to LTIA is, it's never been a favorite with me. I simply like the live versions of the songs on The Great Deceiver box or especially USA (newly remastered and expanded, BTW) much better; LTIA always sounds very sterile to me. I heard USA first, and that colored my reaction.
Yeah, that's a cool site. I agree with a lot of what he/they says. The Internet is perfect for prog geeks.
Yeah, that's a cool site. I agree with a lot of what he/they says. The Internet is perfect for prog geeks.
I actually have In the Court of the Crimson King. I don't know why I bought it (maybe because of its freaky cover?), but I could never persuade my mind to engage in it. I'm playing it as I type this, but perhaps I should spark up a joint and play it alone in my room tonight to discover its wonders. (Lord knows there ain't a whole lot else to do tonight with the rain we've had for two days now.)
Ah, Yes. I once worked with this irritating girl who played keyboard in a Yes cover band, so I have a negative connection with this band. (This is a person who, inexplicably, didn't know who Ian Anderson was.) The only Yes music I have is a couple of tracks on the soundtrack to Buffalo 66 (a good movie that made brilliant use of prog, and I'm not even a football fan, but then again it's not really a sports movie).
[ October 11, 2002: Message edited by: FeverDog ]
Ah, Yes. I once worked with this irritating girl who played keyboard in a Yes cover band, so I have a negative connection with this band. (This is a person who, inexplicably, didn't know who Ian Anderson was.) The only Yes music I have is a couple of tracks on the soundtrack to Buffalo 66 (a good movie that made brilliant use of prog, and I'm not even a football fan, but then again it's not really a sports movie).
[ October 11, 2002: Message edited by: FeverDog ]
And, hey, I like the Strokes and the White Stripes!
Ah, that explains it!
I saw The Strokes open for Doves and at the end I turned to my friend and said "I didn't like this music in 1970, I didn't like in 1976, I didn't like it in 1983 and I certainly don't like it now". Dreary Ramones copyists (the ultimate insult in my book).
I've only heard 2 White Stripes songs and I couldn't stand them. I was frantically reaching for the radio to change it by the time they were half way through.
If you like the both of them it's no wonder you don't like the King Crimson album. They're at opposite ends of the musical spectrum; you couldn't find bands further apart aesthetically. Give me 9 minutes songs with tons of mellotron, numerous time and feel changes and vaguely poetic lyrics over the same old boring-as-hell 3 chords any day.
I saw The Strokes open for Doves and at the end I turned to my friend and said "I didn't like this music in 1970, I didn't like in 1976, I didn't like it in 1983 and I certainly don't like it now". Dreary Ramones copyists (the ultimate insult in my book).
I've only heard 2 White Stripes songs and I couldn't stand them. I was frantically reaching for the radio to change it by the time they were half way through.
If you like the both of them it's no wonder you don't like the King Crimson album. They're at opposite ends of the musical spectrum; you couldn't find bands further apart aesthetically. Give me 9 minutes songs with tons of mellotron, numerous time and feel changes and vaguely poetic lyrics over the same old boring-as-hell 3 chords any day.
Yeah, they're not great bands, but aren't they better than what's been passing for pop music these past few years? I wasn't born until 1974 and didn't buy my first record until I was 11 (Thriller), so I don't remember this style of music the first time around. And, c'mon, isn't the Strokes better for today's teens than boy bands and sludge metal? Hopefully the Strokes will cause their younger fans to explore the band's roots and influences.
And I never said I didn't like King Crimson - I just admitted that their alleged brilliance has so far eluded me. (People rave about Wilco's Yankee Hotel Foxtrot, but I'm still trying to figure out why.) It's just a different style of music. Sometimes I dig punchy three-minute jams; other times, languid, melodic epics are my bag.
Do I get no credit for giving King Crimson a chance? I want to like them!
And I never said I didn't like King Crimson - I just admitted that their alleged brilliance has so far eluded me. (People rave about Wilco's Yankee Hotel Foxtrot, but I'm still trying to figure out why.) It's just a different style of music. Sometimes I dig punchy three-minute jams; other times, languid, melodic epics are my bag.
Do I get no credit for giving King Crimson a chance? I want to like them!
Sex change reported for Jethro Tull keyboardist
QUOTE
Former Jethro Tull rock star David Palmer has had a sex change and now is a woman called Dee, according to British newspapers.
QUOTE
Ian Anderson, the voice and flutist for Jethro Tull, told reporters Dee broke the news by calling him and saying, \"There's something I need to get off my increasingly ample chest.\" \"I found it difficult to understand at first,\" Anderson admitted to reporters. \"But I fully support his decision.\"
"increasingly ample chest". Hee!I know him from Tull, of course, but also from his arranging work doing those "Rock music done by orchestra" things, doing the music of Tull, Genesis and Pink Floyd in orchestral style.
What is it with keyboard players and sex-changes? The first one I was aware of was when Walter Carlos, creator of the great Switched on Bach records and the electronic score to A Clockwork Orange (Sonic Seasonings is great too) became Wendy Carlos, whence she did the soundtrack to Tron, amongst many others.
Good luck to Dee Palmer.
[ January 26, 2004, 03:17 PM: Message edited by: Jim Allen ]
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