10 Great Songs by Jethro Tull (CD, 2012)

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Aproximadamente7,73 EUR
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Ubicado en: Camden, South Carolina, Estados Unidos
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Entrega prevista entre el sáb. 11 oct. y el jue. 16 oct. a 94104
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N.º de artículo de eBay:186278495741

Características del artículo

Estado
Nuevo: Artículo que nunca se ha abierto y conserva el embalaje original del fabricante. Consulta el ...
UPC
0603497913091
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Product Identifiers

Record Label
Parlophone (Wea), Prl
UPC
0603497913091
eBay Product ID (ePID)
20046065138

Product Key Features

Release Year
2012
Format
CD
Genre
Rock
Artist
Jethro Tull
Release Title
10 Great Songs

Dimensions

Item Height
0.39 in
Item Weight
0.19 lb
Item Length
5.81 in
Item Width
4.94 in

Additional Product Features

Number of Tracks
10
Number of Discs
1
Tracks
Living in the Past, Aqualung [Live at Madison Square Garden] [Live], Bungle in the Jungle, Locomotive Breath [Including Dambusters March] [Live at Madison Square, Minstrel in the Gallery, Teacher, A Passion Play [Edit No. 8] [Edit], Thick As a Brick [Edit No. 1] [Edit], Rainbow Blues, Too Old to Rock 'N' Roll [Live at Madison Square Garden] [Live]
Notes
2012 ten track budget sampler collection. An introductory look of Tull music for the beginner. A mixture of live & studio cuts. JETHRO TULL / 10 GREAT SONGS is a greatest hits album. Jethro Tull were a unique phenomenon in popular music history. Their mix of hard rock; folk melodies; blues licks; surreal, impossibly dense lyrics; and overall profundity defied easy analysis, but that didn't dissuade fans from giving them 11 gold and five platinum albums. At the same time, critics rarely took them seriously, and they were off the cutting edge of popular music since the end of the 1970s. But no record store in the country would want to be without multiple copies of each of their most popular albums (Benefit, Aqualung, Thick as a Brick, Living in the Past), or their various best-of compilations, and few would knowingly ignore their newest releases. Of their contemporaries, only Yes could claim a similar degree of success, and Yes endured several major shifts in sound and membership in reaching the 1990s, while Tull remained remarkably stable over the same period. As co-founded and led by wildman/flutist/guitarist/singer/songwriter Ian Anderson, the group carved a place all its own in popular music. Tull had its roots in the British blues boom of the late '60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond's club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass, and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the Northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the "s" in his name at Hammond's suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor's Engine. In December of 1967, the four of them agreed to form a new group. They began playing two shows a week, trying out different names, including Navy Blue and Bag of Blues. One of the names that they used, Jethro Tull, borrowed from an 18th-century farmer/inventor, proved popular and memorable, and it stuck. In January of 1968, they cut a rather derivative pop-folk single called "Sunshine Day," released by MGM Records (under the misprinted name Jethro Toe) the following month. The single went nowhere, but the group managed to land a residency at the Marquee Club in London, where they became very popular. Early on, they had to face a problem of image and configuration, however. In the late spring of 1968, managers Terry Ellis and Chris Wright (who later founded Chrysalis Records) first broached the idea that Anderson give up playing the flute, and to allow Mick Abrahams to take center stage. At the time, a lot of blues enthusiasts didn't accept wind instruments at all, especially the flute, as seminal to the sound they were looking for, and as a group struggling for success and recognition, Jethro Tull were just a little too strange in that regard. Abrahams was a hardcore blues enthusiast who idolized British blues godfather Alexis Korner, and he was pushing for a more traditional band configuration, which would've put him and his guitar out front. As it turned out, they were both right. Abrahams' blues sensibilities were impeccable, but the audience for British blues by itself couldn't elevate Jethro Tull any higher than being a top club act. Anderson's antics on-stage, jumping around in a ragged overcoat and standing on one leg whi

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