Ian had a commentary post a few years back about UK copyrights where he mentioned that some former members of the band lived off of their royalties.
You know, I got no problem with the last two Ian albums: TaaB2 and Homo Erraticus. They might not grip me as emotionally as the 70s stuff but they are still respectable pieces of work and do nothing to diminish Ian in my eyes.
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That's certainly possible, but if so their name(s) would join his as legal composers, though anytime I see the attribution the songs always say "Written by Ian Anderson." He himself has bragged that he has been the sole composer of Jethro Tull music over the years. Other artists have followed the Beatles, Genesis and Yes' lead. The Beatles listed most everything as "Lennon/McCartney," although many of their most famous songs were exclusively written by one or the other. Genesis usually attributed the writing to the whole group (Written my Genesis), whereas Yes simply listed everyone as contributors (Anderson, Squire, White and ((add your favorite name)), which effectively resolves any legal disputes as to who wrote what. Most likely the reports of Tull bandmates' royalties refers to their performances and not the composition but I suppose Ian could have arranged something that provided income without legal recognition.
It's well known that Barre wrote things like the instrumental section of Minstrel in the Gallery. Publishing can be set up so that there can be people credited as writers for royalty purposes that are not publicly credited as songwriters. It's very common
A few of the Tull albums have credits for "additional material" to Barre and other members.
Huh? Could not Ian have done the decent thing and credited Barre as a guest player on his solo albums. Colin Blunstone did the same after the Zombies broke up in the 60's and used Rod Argent as both a player and/or producer on his 2nd and 3rd solo albums. No ego nonsense there. Sorry, but Anderson is an ass, IMHO.
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Yes went back and forth on who to list as composers. Early on, they tended to just list the person with the basic idea for the song, probably unjustly ignoring significant contributions by others. By CttE, you're getting quite complicated songwriting credits, before they switch to just crediting everything to everyone for the next two albums, and then back to varying credits on a song-by-song basis for the next two albums, and then back to group credits... and so on and so on.
Fly from Here and Heaven & Earth had distinct credits, whereas Magnification and The Ladder hadn't, in part reportedly because Howe didn't like the credit-everything-to-everyone approach.
Henry
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Really? I'm somewhat surprised by that, as Barre has said subsequently that he was becoming distinctly concerned about the stagnant nature of JT's in-concert repertoire and the increasingly obvious inability of IA to sing those songs he was still prepared to do in concert. Moreover, I was under the impression that there were tensions over IA's unwillingness to make any new Jethro Tull studio albums. Seems to me that the demise of JT was inevitable and probably the best thing for both sides, under the circumstances, though it does appear that it was very badly handled by Anderson. Certainly Martin's sets with his own band are far more adventurous than anything Tull have done for decades, though I wouldn't imagine they're anywhere near as lucrative as a Tull tour.
Without giving too much away from what will appear in print: Martin said he campaigned hard and long with Ian to embellish stage production (including addition of guest musicians) and diversify the set list in later years. Essentially, he said Jethro Tull could've re-established itself as a "big" touring band with all the theatrical bells and whistles of the '70s and '80s but Ian just wasn't interested. Ian's voice limitations could've been "worked around" but the main issue appears to be that Anderson considered Tull as somewhat of an albatross and unceremoniously pulled the plug. Barre said he still is saddened by that.
Last edited by Progression/John; 10-27-2015 at 11:33 AM.
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Which was really odd because the moment he dissolved Tull from a technical standpoint he he made two Tull albums. If I were Martin that would have truly chapped my ass. "Nope. Don't want to make albums sorry. Oh- now you're gone. OK, I'll make albums." I'd be, like, dude- F**k you.
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I think it is cool and amazing that Ian even acknowledges shit like this. Like its any of our business what he chooses to do artistically, in name, or in any other way.
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