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JethroTull

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Everything posted by JethroTull

  1. I uploaded my friend here sitting at a keyboard. It's a GIF file that is animated, but all I get is the initial image. I noticed others (Redeyedrich) have moving avatars. Anybody know what the problem is?
  2. The link w/pictures... http://www.gibson.com/en-us/Lifestyle/Feat...0Tunings_%20Wh/ The article.... Open and Alternate Tunings: What They Are and Why Page, Iommi, Grohl, and Slash All Use Them Dave Hunter | 01.02.2008 Albeit imperceptible to the untrained ear, many of the best guitarists have eschewed standard tunings and forged their own style by using open or alternate tunings—alternate tunings being deviations from standard tuning’s tried-and-true EADGBE; open tunings being any tuning which forms a full chord when all open strings are strummed together. An accepted compromise, standard tuning sets up fingering positions on the six-string guitar that let us play a little of just about anything in any key relatively easily, but it doesn’t by any means offer the easiest and most logical means of achieving more specific stylistic ends, which is where alternate tunings rule the day. The real magic of open or alternate tunings is that they put melodic runs within easy reach, for certain types of fingerstyle playing in particular, by putting open strings within the key or scale of the song in question, and also make slide (bottleneck) playing much easier by creating chords that can be played on all open strings together or on any barred fret. Alternate Tunings Alternate tunings can be as simple as changing one string, as in the very popular “Dropped D,” in which the low E string is tuned down to a D to provide an easy power chord on the three lowest strings, or a big, ringing first-position D chord with an open bottom D. Plenty of players have also altered their tuning by merely dropping the entirety of standard tuning down a half step, which can provide a fatter, meaner, more growling sound for some rock and blues styles. This is known in some circles as “Jimi Hendrix tuning” because Hendrix frequently used this technique, and Slash delivered the hot, slinky riffs for “Sweet Child o’ Mine” and other Guns N’ Roses songs on a Les Paul tuned down a half-step. To get even darker, players have gone down a full-step, or more, like Tony Iommi’s powerful and influential work with Black Sabbath. More radical alternate tunings, and tuning down in particular, have probably garnered the most attention recently because of the metal players who have been using them to achieve ultra-heavy sounds. This isn’t just a phenomenon of the thrash-metal, black-metal, and death-metal movements, however. Players have been dropping their tunings way down for years to create a more menacing vibe. Tony Iommi conjured pure sonic darkness back in the ’60s by tuning his SG down three semitones to C# (C#F#BEG#C#), and it also turns up at the hands of later bands like Metallica, Pantera, and Slayer. Metallica, in fact, have wrenched those tuners just about every which way, slipping into G#C#F#BD#G# for “Invisible Kid,” and CGCFAG for much of the St. Anger CD, among others. Plenty of rock players also thicken up Dropped D by dropping the whole shebang down a whole step, then dropping the erstwhile D down further to C, which results in CGCFAD. The slightly more laid-back, but also occasionally heavy, plaid-shirted crowd up in Seattle also made good use of alternate tunings. Kim Thayil, lead guitarist with Soundgarden, used the odd CGCGGE for “Burden In My Hand,” “Pretty Noose,” and some others on the album Down On The Upside, and uses the simpler Dropped D elsewhere, which was frequently utilized by fellow Seattle legend Kurt Cobain of Nirvana. Likewise, former Nirvana drummer-turned-Foo-Fighters-frontman Dave Grohl has made good use of Dropped D, heard on early Foos hits “Monkey Wrench” and “Everlong,” and has also devised the occasional custom alternate tuning to suit his songwriting requirements. Beyond the rock, metal, and blues arenas, alternate tunings have also helped plenty of pop, jazz, indie, alternative, and country players stand out from the crowd. Late guitar legend Chet Atkins knew the power of alternate tunings well, and you can hear a number of them on his classic 1973 release Chet Atkins Alone. Or, to hear how alternate tunings can be applied to a more contemporary breed of Americana, check out Son Volt’s 1998 release Wide Swing Tremolo, on which Jay Farrar downtunes to a whole boatload of odd, self-concocted alternative voicings on a Les Paul Special or a range of acoustics. Tunings on “Driving The View” (CGCGCD) and “Carry You Down” (DGDGBC), to name but two, help to create heavy, droning resonances that are very different from those achieved by the downtuning metal players, but are equally effective. Open Tunings “Open” tunings are probably most familiar as used by blues players, and slide players in particular. Some legendary non-slide players used odd and original tunings that they devised themselves, perhaps none quite so obtuse as that of Albert King, a left hander who played his right-handed 1958 Gibson Flying V upside down, tuned CFCFAD. You can hear how these unusual intervals are bent to King’s minimalist yet extremely expressive pentatonic-based riffing on classic cuts like “Born Under A Bad Sign” and “Don’t Throw Your Love On Me So Strong.” Texas blues legend Albert Collins used a very unusual F-minor triad tuning (FCFAbCF), which he altered further with the use of a capo, usually at the ninth fret but sometimes at the seventh or fifth. The great blues-rock slide players, however, are largely associated with more familiar open tunings: Derek Trucks tunes his SG to Open E, while plenty of others—including ZZ Top’s Billy Gibbons (an open-tuning aficionado)—use the same intervals a whole step down to achieve Open D. Another classic, Open G, is popular with both slide and non-slide players. Open G—and Open A, the same tuning, but a whole step up—can be heard in the blues of Robert Johnson, Muddy Waters, and John Lee Hooker. George Thorogood had a big hit in the late 1970s with his rendition of Hank Williams’ "Move It On Over," played with a gnarly slide tone in Open G on his Gibson ES-125TDC thinline hollowbody. Keith Richards of the Rolling Stones, for one, is a big fan of Open G, which gives him access to those driving country-blues bends and ringing open notes in "Brown Sugar," for example. Not to mention, the rich chord-based melody of Open G rings through almost all of Richards’ playing on Exile on Main Street, acclaimed as the greatest rock album of all time. The rich possibilities of open tunings can also be heard in artists as varied as Bob Dylan on Blood on the Tracks, which uses Open E, as well as Rich Robinson of the Black Crowes, Paul Westerberg of the Replacements, Johnny Rzeznik of the Goo Goo Dolls, and many other players. Meanwhile, back in slidesville, Jimmy Page did a lot of his slide work with Led Zeppelin in Open G, while he used the alternate tuning DADGAD, popular with a lot of British folk guitarists of the ’60s and ’70s, for much of his acoustic playing. Try these open tunings, and you’ll soon find you can slide right into standard chord changes with a full rich tone, while also accessing melodic single-note scales with ease for fills and breaks. And beyond all the “standard alternate tunings,” if you will, are the myriad possibilities of the radical and unusual tunings out there just waiting to be discovered. It’s your guitar, your music—whatever tuning works for you is entirely valid, so explore freely and see what doors you can open. To view chord charts for some of the most popular open and alternate tunings, click here. Listen to clips of some of the most famous songs to use open or alternate tunings. You may just be surprised. Photo Credit for Tony Iommi Photo: Dean Fardell
  3. Those were the two releases I said were essential in my post above. IMO, anybody who lumps Bruce and Bon Jovi in the same category just doesn't get it. Musically, they are worlds apart. Big deal they both come from New Jersey, so did Frank Sinatra.
  4. Think of Petty's top 2 or 3 most listenable hits. That's what he will play. The Stones playing "Beast of Burden" or anything else from Some Girls would have probably gone down like a lead zeppelin(Good Year blimp) at the Super Bowl. You really have to keep it pretty simple and rocking for the Super Bowl audience. I went to the Super Bowl XXXI in 1997. Packers beat the Patriots in New Orleans. Halftime show was Blues Brothers, ZZ Top and James Brown.
  5. I've been getting a couple of emails a week from Guitar Center. This one caught my eye with an ad for this guitar available Feb 15. http://gc.guitarcenter.com/guitars/jimmy-p.../?source=4NL8AS
  6. Has anybody heard the bluegrass versions of VH songs released by Diamond Dave? If not, go to youtube.
  7. Maybe we should break this down to early, mid and late 70's. I've noticed you lean towards harder rock, so I was pleasantly surprised to see you pick the Badfinger classic. Do you own the remastered version with bonus tracks?
  8. Probably because I am not too motivated to buy it. Although I see below there is a foreign remastered version floating around. I know a lot of purists don't like the original released changed. If I am going to buy an old classic, I prefer some bonus tracks with maybe a booklet of sorts talking about the original release etc, etc.
  9. You've obviously never heard "Red, Blue and Grey". Pete on banjo.
  10. Yeah and the flute is turned up in the mix and you can sometimes barely hear the ELECTRIC guitar.
  11. The Rising, Devils and Dust, The Seeger Sessions and Magic. All critically acclaimed, nominated for Grammies(for what it's worth), loved by his fans and released since 2003. The music, production and marketing(yes) are all top notch. Live, all songs old and new, are subject to new arrangements with different instrumentation. And he is NOT milking his fans on the touring circuit with $250.00 tickets. So it's good times if you like Bruce.
  12. You must be a popular guy in the neighborhood!!
  13. Yes, Black Sabbath, ELP. I never owned a lot of Yes. Around 1977 I purged about 20 LP's from my collection. Mostly Yes, Black Sabbath and ELP. I kept Paranoid and Close to the Edge. I wish I kept those 20 LP just for a listen once in a while because I have no interest in buying any of those on CD. Correction, about 2 years ago I bought ELP's Tarkus. It's a fun listen, but musically it seems bland. I've been tempted to buy Sabbath's first LP, but I would rather it be remastered with some bonus tracks(doubt that will happen).
  14. Ian's voice is shot(I'll probably take some crap for saying that). He sings the older bluesier songs well, but other songs he just has a lot of problems. On the recent tour they converted "Sossiety, Your're a Woman" into an instrumental. His voice changed drastically in 1984 and has been unpredictable and sometimes embarrassing since. Fans still go watch and they have been touring constantly. I have a long list of complaints, but won't get into it here. I've taken a Tull break the last couple of years, but I might attend the 40th. It would be nice if a couple of former band mates were invited to come along(I doubt it). Even Martin Barre (guitarist since 1969) is sometimes left out of what is called a Jethro Tull show.
  15. How long have you been playing the sitar?
  16. Thanks for the great story. I'll give you my take on it. 1977 and 1978 were difficult years for bands like Tull. 1977 would have been The Songs From the Woods tour. A very earthy, acoustic LP and not popular stuff in 1977. The band was in top form during that tour, but I suspect fans were growing impatient with the flutes, acoustics guitars and the general image of the band. Maybe it was a mid-west thing, but the East Coast shows were well received. Uriah Heep was more of a rock and roll outfit and a little more of what people may have wanted to see on stage. I lost a little interest in Tull myself during those years. Oh, Tull used to set off strobe lights during Cross Eyed Mary. The band would be very animated during this and it gave the impression of slow motion, maybe that's what you saw. Or maybe it was the weed.
  17. You got ripped off, I only paid $5.50 for that show.
  18. WARNING: If you are feeling musically vunerable, please to not read this. Remember Jack Black in the movie High Fidelity? All those guys in the record store with their high fallutin' opinions about music. Well, The members of The Dictators come across like that but about 100 times more so. Scott "Top Ten" Kempner(the guy on the far right above), formed The Del Lords with Eric Amble in the 80's wrote a very long piece about the bands history etc and it's included in the recently released two CD rarities collection. Here is one paragraph exactly as it appears..... "The year is 1970, and the rock n' roll landscape is bleak. The great British bands of the 60's are either done, or one album away from being taken out with the recycling. Not that anyone was reycling yet in 1970. Maybe this is where recycling actually began! But, it's the Beatles, adios; the Stones are a year or so away from EXILE ON MAIN STREET and then they too would never again make a great album, the Who are still awesome live but their records will also henceforth suck, the Kinks have already made their last non-shit record; and here in the USA we do have the Flamin' Groovies, the Stooges and our beloved MC5, all of whom are either marginalized, or drug addled, or both, either way they ain't causing much of a bother out there in the big world. The incredible J. Geils Band are soon to be Arena Rock (just as soon as someone invents the term); and Earth to Commander Cody, come in pleeeeeeze! So, we made do with low-end crap like Glam Rock as a substitute. It reminds me now of being fourteen and really wanting to get high, buying a dime bag of some really shit pot from a known skuzzy dealer and trying like hell to convince yourself that you were actually catching a buzz off this crap. That's my glam Rock analogy. Like it? God, how I've come to hate that shit. Fuckin' Bowie." Oh, just two years ago I discovered Scott's 80's band The Del Lords were named after the director/producer of most of The Three Stooges movies and shorts. His name...Del Lord.
  19. Hey man, we're talking about The Dictators. This ain't no Ramones.
  20. Hey thanks for the PM's. You have an impressive list there. The Chicago/3 Dog Night in June '71 must have been fun. You must be around my age, I'm 82.
  21. So it's September 1974, beginning my sophomore year of college at Fairleigh Dickinson University in Teaneck, NJ and I hook up with Joe, a friend from freshman year. We decided to take our friendship to a new level and took a drive in his beat up Dodge Dart around Teaneck. We were definately smoking pot and may have even had a couple of beers with us, when Joe decided to put an 8-track in his player. I was feeling real good when the first song came on, "The E Street Shuffle" off of Bruce's 2nd LP. My mouth dropped. I was mesmerized by the music. I enjoyed American bands, but my main focus at the time were British bands. You all know who they are. (This is starting to sound like a long Springsteen rant.) Well my first live show was in 1976, second one was 1978. I lost interest when he started playing arenas in the early 80's. Those first two LP's are essential and hopefully when you form an opinion about him, you've at least heard Greetings from Asbury Park and The Wild, The Innocent and the E Street Shuffle. Maybe it wouldn't have the same impact today. Fast forward to the 00's. I've been to Springsteen shows each one of the last 5 years. I just tell two highlights from the recent shows......going to Convention Hall in Asbury Park, NJ to watch a rehearsal show for the Seegar sessions (that was NO rehearsal). I was about 15 feet away from the stage. Also, in November at Verizon Center with the E Street Band, a song off the Nebraska CD entitled "Reason to Believe". They start off with a 2 guitar attack on a ZZ Top riff ( I thing it was La Grange) and launch into a raunchy version of the song ("Reason to Believe" ) vocal distortion and it was just awesome. Great band backing Bruce, but for the me highlight is Bruce's Mini-Me a.k.a Nils Lofgren. That guy can play. And when puts his guitar on its back and plays slide, it is just unreal. I wish I could grow my sideburns like Nils.
  22. I was a bit harsh saying it was the lowest rung, but it is a bit weird.
  23. This may be the lowest rung on the rock and roll ladder.
  24. I hope the bands name does not offend anybody. They are a nice bunch of lads. First NYC punk band signed to a record deal. Ross the Boss on the far left played a number of years in the dumb metal act Manowar.
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