Yeah, the key sounds might be a tad "of their time", but the songs age well nonetheless. I've always found this a strong album, perhaps because Ian was not confined to writing within a particular set of parameters as it was not a Tull album. I've always really liked "A" too, and the reason could be the same, as it was not a Tull album in the writing stage.Originally Posted by strawberrybrick
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
*** Join me in the Garden of Delights for 3 hours of tune-spinning... every Saturday at 5pm EST on Deep Nuggets radio! www.deepnuggets.com ***
Glad I can help
My big beef, as I said, was predominately with the drum sound/bass guitar, along with some rather "interesting" delays, FX, etc on the vocals at various points on the album ("One White Duck"??). It has bugged me since day one when I first got this record, which was my second Tull album after Thick. I also love Barre's guitar(s) and the tones he got here, and agree on the Hammond sounds. The acoustic guitars even sound really nice.
But when Barlow kicks in on "Minstrel" at 2:28 - I dunno man - I personally find the drum/bass track seriously lacking. I think the bass drum is weak and those tom rolls just have no presence whatsoever. Thick is definitely not a term I would use personally. But hey man, if you dig the engineering there, I think that's cool - I wish I could myself. WarChild and APP are much more to liking in that department to my ears.
^At around tracking time 30:12 ("Baker Street Muse") or so you get a pretty clear presentation of the drumset - and this is exactly what has bugged me all of these years. Sorry, this is just not a warm, full, rich tone to my ears. The cymbals also just grate on me for some reason. Yes, you get a "live" presentation with some studio ambiance, but to my ears this is not good engineering; I think they could have done better.
Like I said before, I still *love* this album, just not the sonics. I'm really looking forward to seeing what Willie Nelson can do with it
My guess is that it's either Tales or Going For The One.
Now then, i REALLY hope that every Tull album up-to Broadsword gets this kind of deluxe treatment.
Ive listened to all the SW remixes and hate them. No one can beat the life out of music and render it flat and dead like he can. I dont know if 5.1 surround just calls for equipment more advanced than my home or car stereo, but they sound terrible to me. The Taab remix done around '97 sounds far superior to his own, and that Passion Play remix is rubbish. Play the old mix on vinyl and it, too, sounds better. So I am done with SW remixes, and disappointed to hear he wants to ruin yet another Tull album. O well, at least the old versions remain around for those of us who prefer them.
Actually, the 1997 Thick as a Brick was NOT remixed.
Don't think I'll bother this one. No bonus stuff we haven't heard. Only a couple of strong tracks. Compared to Aqua, thick, passion and war child remixes which have at least 10 strong tracks each and benefit, stand up, songs, horses, storm, A, broadword remasters which have at least 5 strong tracks each
You're not interested getting some unreleased live material from 1975?
I tend to agree, with one gigantic exception- check out Relayer.
Well, that's one opinion. Mine is rather the reversed:
Let's kidnap Steven Wilson, and make 10 clones out of him. Put these 9 into slavery and let them remaster and remix the entire progressive rock output from 1968 onward, and bring it in a much faster tempo to our impatient hands!
A is an album I need to give another listen or three to. Never clicked with me, though I remember the tour quite well!
"Always ready with the ray of sunshine"
Looking forward to getting what looks like the complete Sounds on Sunday session with the string quartet (even on "Aqualung"). I've always been frustrated by the faded-out opening sections of "Minstrel" and "Cold Wind" that are all we've gotten before. I've always guessed that there was a sound problem with the electric parts of the performance; maybe they've come up with a better source, or are finally willing to let us hear it warts and all.
Am i the only one who thinks it's a bit silly that every time a new remix by Steven Wilson has been announced, there are numerous posts from people who are "not going to buy them" and who think that "Wilson's digital work has killed the classic analogue sound"? I mean, maybe someone should start a Steven Wilson bashing thread if there's nothing else to discuss about it?
Yes we do, the film exists (see vid below with other short snippets). It's believed that some members of JT refused to sign their approval
(Evans and Hammond are the most likley.
yes
these things look great lined up on the shelf together
Are you absolutely sure it was the Paris footage? I remember Ian collected old vintage Tull footage to be included on a DVD collection, which ultimately, was to become the disappointing Living With The Past. Barriemore Barlow and John Evans were the ones who decided not to give their permission. Barrie told later that the artists were to be paid on the basis of how much they were seen on the screen. (Of course, in case of Barrie and John, they were mostly off-screen.)
One has to wonder why Anderson would go cheap on those ol' chaps... queue Black Sabbath reunion......
"Always ready with the ray of sunshine"
Love Minstrel. Hope this is worth it.
It has some fantastic tracks. "Black Sunday" and "Fylingdale Flyer" are outstanding IMO. But I honestly like the whole thing.
Totally agree!
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
*** Join me in the Garden of Delights for 3 hours of tune-spinning... every Saturday at 5pm EST on Deep Nuggets radio! www.deepnuggets.com ***
I won't take it the extreme as the post you are referring to, but (and that's a big one)....
5.1 was a bit of a novelty for music when it first appeared over a decade ago. One of my first purchases was of Yes' Fragile that coincided with the Magnification 5.1. It was fun. Not earth shattering, but worth whatever I shelled out. Since then I've purchased a few more releases, including the KC catalogue which I never had on CD before.
Now it seems that every "classic" album is going to get the 5.1 remix. In reality, someone is finding a new way to sell very old music that most of us already had once on vinyl, second or third time on CD. Now the fourth in a fancy boxset. Putting the "Steve Wilson Trade Mark Of Quality" on it seems to further raise the profile of both the new release and the man.
Fact is, all these albums have been engrained on my brain decades ago. Very Few of the 5.1 remixes have surpassed my expectations for the original work. (okay, Gentle Giant's Power & The Glory is one). I was a young, hungry for music teenager that first purchased Minstrel In the Gallery when it came out. What on earth could change the impact and my memory of that initial experience?
I look at it like this: your wife (LP) buys a new dress (5.1) or gets a new hairstyle (5.1DTS). It's nice, it's a change, she looks great, but she's still your old lady. I guess you gotta shell out every now and then!
"Always ready with the ray of sunshine"
Excellent point. Having zero interest in 5.1 beyond some mild bemusement at its popularity as a gimmick, I approach the SW versions as:
1. exercises in nicer packaging (which I am old-fashioned enough to get a kick out of)
2. an opportunity to revisit music I care about but have taken somewhat for granted for decades.
They do a good job of meeting my modest criteria, so I'll keep buying them!
Does it matter that this waste of time is what makes a life for you?
Okay, just pissed off the old lady and kids by blasting this one on CD then LP post pork roast (I made). The CD is wretched. The LP is not the best sounding of Tull albums. I get the live in the studio bit, but the balance is linear, not that dynamic; everything seems pushed upfront, center.
Maybe Wilson can work some magic on this after all. He's got a LOT to work with
"Always ready with the ray of sunshine"
Really?! Then I'm interested.
...and now I'm not.
It brings to mind the minor credit John Glascock got on 'Stormwatch'.
I'll take it) Though I expected a full-time live footage of 'Minstrel' show, instead they put only 8 minutes vid.
The only Wilson's Tull remix that disappointed me seriously is Aqualung. The flute parts sounds without Anderson's breath, like some synthesizer "flute" option.
Posting Permissions
Reply With Quote
Bookmarks