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Help identify a song I heard (Jethro Tull?)
- Thread starter consectaneus
- Start date
I got to perform this classic with the amazing Rachel Flowers on flute…
It’s a shame he didn’t go on to bigger and better things after leaving Tull. His next band was this unremarkable generic early 70’s outfit, Wild Turkey…
Then there was this trio, started by post-Fleetwood Mac Bob Welch, yet even more generic later 70’s rock, Paris…
I saw them open for Bebop Deluxe, just kinda ‘meh’. It lasted two albums.
However, he continued to gig around LA with the first Paris drummer, Thom Mooney(formerly of Todd Rundgren’s Nazz, totally overlooked player, an American Keith Moon). My girlfriend knew Thom, and imagine my surprise when we once went to a gig in a small Irish pub where Thom was backing some bland celtic balladeer, and Glenn was part of the package. P-bass, Hiwatt head, Marshall cab, I spoke to him afterwards, trying not to be a drooling fanboi. Trying.
Then there was this trio, started by post-Fleetwood Mac Bob Welch, yet even more generic later 70’s rock, Paris…
I saw them open for Bebop Deluxe, just kinda ‘meh’. It lasted two albums.
However, he continued to gig around LA with the first Paris drummer, Thom Mooney(formerly of Todd Rundgren’s Nazz, totally overlooked player, an American Keith Moon). My girlfriend knew Thom, and imagine my surprise when we once went to a gig in a small Irish pub where Thom was backing some bland celtic balladeer, and Glenn was part of the package. P-bass, Hiwatt head, Marshall cab, I spoke to him afterwards, trying not to be a drooling fanboi. Trying.
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If you like Jethro Tulls adaption (as I do)
You might give the original Bouree in E minor a listen.
Written in the 1700s by some guy named Johann Sebastian Bach.
Written for the lute, a bouree was a dance, popular in France in those days.
I guess even Johann knew you had to have a few dance tunes in your set!
You might give the original Bouree in E minor a listen.
Written in the 1700s by some guy named Johann Sebastian Bach.
Written for the lute, a bouree was a dance, popular in France in those days.
I guess even Johann knew you had to have a few dance tunes in your set!
The first time I heard them, this new album came out and the cover looked trippy. Took it home and put it on and this came out...
Blew my little kid mind
Blew my little kid mind
thank you sir. What was especially cool is that this was done with ZERO rehearsal!
Glenn Cornick thought benefit was a better album due to Martin Barre’s contributions. I don’t think he ever realized just how influential Stand Up was. He certainly didn’t appreciate how significant his contributions were. In fairness, Bach deserves some credit for the songwriting too.
No, but Dave Pegg is much better than you would guess from most of his recordings with Tull. Catfish Rising has a lot more input from him. There’s even an excellent bass solo, albeit not on the same level as Glenn’s playing on Bouree, and actually performed by Dave’s son Matt.
There aren’t nearly enough recordings of Bouree live with Glenn Cornick. The rushing drums at the Isle of Wight make it hard for me to listen to. My favorite version is probably the John Peel performance.
Oh yeah, I’m a big Fairport/Thompson/Drake fan(Denny too), so I know how good he is. Saw the Rising For The Moon band, they opened for, get this, Weather Report with Alphonso on bass. Quite an evening.
I discovered Fairport after getting into Tull in the early 90s. Talk about a band that left a mark without ever having the success they deserved!
Well, define success. They’ve existed in one form or another over the decades, and mounted the Cropredy Festival for almost 50 years. The biggest hindrance was the personnel turnover, with the Sandy era their highest profile, but I could never see them as a hit single kind of band. They were the benchmark of British folk rock by which all others were measured. Richard Thompson’s solo career has been so vast(talk about a devoted following), and Denny at least had her moment with the masses on “Battle Of Evermore”.
I’m the opposite of you, I got exposed to Fairport, quickly followed by Pentangle, months before This Was, where they were just ‘Cream with a flute’ anyway. I thought Blodwyn Pig was pretty cool, it’s too bad Glenn wasn’t involved in that, but they faded away after two albums. I saw the Passion Play tour in ‘73, and opening for Tull was Steeleye Span, another Brit folk stalwart; it was great that they got the exposure(it didn’t hurt that they were labelmates with Tull).
By Warchild and Too Old I started to loose interest in the band, and later on when it seemed like they(or Anderson)were lost for direction, they glommed on to the Fairport thing for awhile.
Anderson’s work recently has been very interesting; first he did a collaboration with Marc Almond(that’s right, the Soft Cell/“Tainted Love” guy)…
Then, under the Tull name, there was this timely song with a timely message…
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