Manager of the Police and Sting, founder of I.R.S. Records, Miles Copeland rode a new sound to financial and cultural impact. Hear how a maverick did it his way and not only broke his acts, but created new ways of getting them recognized.

www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/

podcasts.apple.com/us/podcast/miles-copeland/id1316200737?i=1000495643426

www.stitcher.com/s?eid=78777900

music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/The-Bob-Lefsetz-Podcast

open.spotify.com/episode/2CEV9GvY4mtlPwr2K2RT2b?si=QlBfORKQTM-MEsqvit1BIQ

I saw all three of the shows you mentioned (Springsteen, David Byrne, and Hamilton) on Broadway. That’s one of the great things about living in Baltimore; it’s a two and a half hour train ride to NYC. I also watched Bruce and Hamilton on the TV versions, and totally agree with you. You just aren’t there. None of the excitement is captured. You feel like you are watching other people have a good time. It’s even worse than seeing a concert from a corporate skybox, which totally sucks.

One of the early pandemic bright spots looked like it was going to be all of the artists who were performing from their living rooms. It was a great idea but geez did it get old quickly! There is just nothing like being there, even with a millenial on your left looking at their cell phone the whole time and someone invading your space on the right while singing loudly and out of tune. I so miss the hassles, smells, discomforts, and monetary ripoffs of live music, and can’t wait to be back out there and complaining again!!

Hope you are well,

Rich Madow

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David Byrne’s Utopia was el stinko. Thankfully I DVR’d, so I could FFW to the Talking Heads songs.

Fran Thornton
Phila, PA

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I have only seen one video of a show like this that caught the excitement of the live performance. it was the final Broadway performance of RENT produced by Radical Media.

Tag Gross

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Couldn’t agree more.

Sari Leon

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I had the same reaction. It was unwatchable. And I’m not only a Byrne/Talking Heads fan, I had the original Talking Heads demo and the stuff left off My Life In the Bush Of Ghosts. The same phrase kept running through my head: artsy fartsy. I don’t know, maybe you had to be there but it sure didn’t come over my big TV.

Phil Brown

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You are the only one.  Your sad negativity reflects a vacancy of spirit within you.  Maybe your just texting and blogging too much and have lost your heart somewhere in your selfish egotistical misplaced judgement of others. Your arrogance has me on the verge of cancelling all connections to your “opinions of emptiness.”

Mark Manning

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I could not disagree more.  I found the show to be delightful and David Byrne sounded great.  Everyone I spoke to about it thought the same.  I don’t know what you were watching.

Howard Turoff

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It seems I was the only critic who didn’t care much for Stop Making Sense when it first arrived.  Since the review was in a national mag I caught the ire of Gary Kurfirst. Looking back with a little regret  perhaps that film had the same problem as Spike Lee’s effort.  I had never experienced a Talking Heads show that I didn’t like going back to seeing them as a trio opening for The Ramones at Max’s Kansas City.   Something with Byrne is lost in the translation between the media. That’s pretty the same with all bands which is why Woodstock remains the only great concert film. The music was secondary to the event.

Now it’s a curriculum-worthy chunk of Americana.

Keep the copy coming Bob.

Jonathan Gross

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I occasionally agree with you, but re:  your analysis of Byrne’s show – bullshit.  Duh -it wasn’t live.  I enjoyed it. Being there, in person, audience vibe better? Again – duh.

Mike DeVirgilio

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You are so spot on with this. This show was one of most memorable theatrical experiences I have ever had.  The film totally missed  the amazing choreography and elegant staging (a simple but unique set). It should have been shot with 3-4 cameras with most of the footage from the audience POV. The endless closeups of feet and individuals in the band detracted from the energy of being there. We sat 1st row mezzanine and it was almost hallucinating. The staging of this show was remarkable…true artistry, and you get none of that from this paint by numbers effort. Sad, but I can’t wait for AU to be restaged cause I’m gonna be there!

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Bob, you hit it on the head. I love Bruce and I love David, but their television specials were, I am sorry to say boring.
Bob Meyrowitz

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Bob, I disagree heartily. I thought Spike Lee did a great job capturing the energy and flow of the live show. The choreography was amazing, the music rhythmic and uplifting and I did not hear any significant fall off in David Byrne’s voice. He is the sun around which everyone on stage revolves The only quibble I had was how it started (slowly). The fact that there are no musicians other than those dancing on stage (and no tapes) makes it that much more impressive.

Smoke a joint and then watch it again Bob.

Best,

Dick Wingate

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That was an excellent segue into a Save our Stages plea – bravo! That said, I agree on Utopia, it just didn’t provide the energy and vibrancy it was going for for me.

Jon Cappetta

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Amazing live. Couldn’t watch after 15 minutes.

Hal Kempson

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I surely won’t be the only person to tell you the soundtrack came out last year.

https://www.nonesuch.com/journal/david-byrne-american-utopia-broadway-original-cast-recording-cd-now-vinyl-january-2019-11

Gordon Elgart

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You had to be there. Where I saw it on Broadway I literally left the theater with a smile on my face and a bounce in my step, it was that good. It was exciting, fast paced beautifully choreographed and the music was, well, it’s the Talking Heads. I agree though, live performances like this lose quite a bit in the translation to the screen. Too bad because it was one of the greatest things Ive ever seen on Broadway.
Thanks Bob,
Michael Eigen

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I think David Byrne should play David Byrne should portray Mr. Rogers in a Funk opera that he writes.He will wear slippers and not be barefoot.

Michael Des Barres.

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Bob-  Do you REALLY think Hamilton on Disney “didn’t work”?  Or are you just being contrarian because most people loved it.  IMHO, that was a close as you can ever come to reproducing the feel of live theater on film — it was truly a master work within the genre of filmed theater performances.

And now, I’ll get off your lawn.

Andy Kantor

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I kind of hear where you’re coming from. The live version of American Utopia was exhilarating. My husband and I went for our anniversary a year ago this week and went back again bringing our college age kids at Christmas. For the record my then 22 year old loved it but my Gov Ball/Camp Flog Gnaw loving 19 year old didn’t get what we were so excited about. At all. Tendayi Kuumba and Chris Giarmo – the dancing vocalists – are mesmerizing live on stage. You can’t take your eyes off of them.

Barbara Barna Abel

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I am regular reader of yours, and on occasion will squint in disagreement — this time I have to push back hard on your take.

Both shows were joyous, exuberant, very well shot and recorded.

HBO / Spike Lee version of American Utopia did a nice job of revealing the shows themes. (I saw the live play 2X and literally have tickets for tonight Oct 21, 2020 rescheduled for 2021)

Same thing for the Disney Plus version of Hamilton (only saw live show once).

If your take is TV is not as immersive, involving or joyous as the live show — well of course, its TV, not Broadway. if you go to a lot of live concerts, plays, stand up, etc. each month, then the lock down has really been depressing with no live events. So these were a welcome filler but regardless they were both very well done.

You need to forget the hype/previews/reviews and let the artwork stand on its own.
When you do that, both shows succeed splendidly

Barry Ritholtz

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Amen, maybe all this time away from live performances will make us appreciate them more.
You don’t know what you got til it’s gone.

I saw Byrne’s show live on Broadway, couldn’t sit still, it was full of surprises and exceedingly well done.
I’m glad you were able to see the promise, and I hope you get to see it live at some point.
The film probably doesn’t include little gems like this:

“The authorities have informed me that you are welcome to dance at your seats, but not in the aisles,
because, should a fire break out, that would put you at an unfair advantage.”
-intro to Burnin’ Down the House

Best regards,

C Darryl Mattison

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Finally, some has the courage to criticize David Byrne. Thank you Bob!  I wish mr. Byrne put some shoes on!

Best regards,

Tony Savarino

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You totally nailed it.

John Brodey

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Thanks for the Byrne review. I was afraid I was the only one. It was boring and I couldn’t watch it all, despite some interesting angles from Spike Lee. Byrne’s voice wasn’t just lacking, it was off key way too often. The musicians were good, but Byrne weighed them down. When he sang the line “And God is a very old rooster,” my 4-year-old asked, “Do his words mean something in another language, because they don’t make sense in English?” I know better than to get my lyrical interpretations from a pre-K kid, but it was the most entertaining part of watching the televised show. My 17-year-old, who likes the old Talking Heads albums, said she would have been terminally bored seeing this show live and would have had to run from the theater, despite Byrne’s nod to Janell Monae.

Brad Kava

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I’m flabbergasted that you found American Utopia unwatchable, I found it the exact opposite. My partner and I were totally engulfed in the performance actually wishing we could see it on the now blacked out Broadway. When I say him and his cast performing on SNL before the pandemic closure I was again spellbound and extremely excited by the soon to be released movie of the Broadway production.
I also was amazed that you felt you needed a soundtrack release to know the songs performed. It was a Talking Heads concert with a wondrous interpretation of their songbook with a few solo Byrne works from his other projects. I felt it challenged Jonathan Demme’s  Stop Making Sense, seen as one of the greatest concert films ever produced.
Maybe you missed the new wave movement of the 80’s, the Broadway’s production audience certainly hadn’t.

Mike Hansen

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100% wrong about American Utopia and I could just cry from how depressing you sound knocking this amazing piece of art. Spike captured it perfectly.

Josh Valentine

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Did you at least get hardship-pay for watching it?

Art Fein

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I think if you saw the live show — as I did — you could also enjoy the tv version that reminded you of how much fun you had. Also what it was like just before COVID. For people who were experiencing it for the first time not so much.

David Hershkovits

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I saw David’s show 3 times in NYC.  An incredible experience.  I saw Springsteen’s show also…no comparison…I don’t know how to explain it.  A unique concert designed for the Broadway stage..I’d get on a plane from Colorado to NYC and see it again before I watch it on HBO.

Thanks,

Edmund J. Kelly

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I haven’t seen American Utopia yet, and eventually I will, but David Byrne depresses me. And even though I know that all of the dancing and costumes and fun of it all goes almost all the way back to the inception of Talking Heads, especially the masterpiece Stop Making Sense, the costumes and the dancing over the last decade or whatever has made me sick. Drums, guitar, bass, keyboard, voice. Talking Heads: 77 for me is the band’s pinnacle because it is furthest removed from the costumes and the dancing, which is to say that it is the closest to rock and roll, where you had great songs played by an excellent band. Dancing and costumes…watching Tina Weymouth play bass is endlessly more exciting, captivating, and beautiful than any amount of barefoot dancers traipsing around could ever be. I haven’t seen the film yet, and I will probably like, even love it, if even some of the hype is to be believed. But it can’t be as good “Tentative Decisions” and the fact that that type of music and a more direct musical presentation of that music is so far from where Byrne’s head is at makes my skin crawl. Too many people like this shit!

Daniel Grgas

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I think you’re dead-on Bob.
I haven’t watched it yet, and I probably wont. I have, however, been fortunate to be working on the same stage or a nearby stage at multiple festivals and the performance was electrifying.
I’m a 15 year touring professional and best case scenario, I MAY be able return to work next Summer. I’ve been on unemployment since May and the artist I work for was generous enough to give our entire crew a 1 time payment to help out with all of the lost work. Despite all of this, I’m slowly bleeding dry. As are most of my colleagues in the business that haven’t already decided to move on to greener pastures.
When concerts can once again happen, they’ll be really tough to pull off without any crew left. Can you imagine Madonna having to push a road case?
If any one in our government ever hopes to go to a show again, I do hope they’ll take some action to ensure that’s possible before it’s too late.
Thanks for the support!
Stu Tenold

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I’m guessing what you are missing is that David was one of the pioneers of Nerd Culture, at a time when being a nerd wasn’t cool.  I remember someone saying back then that he proved you could be a nerd, a geek, and a spaz, and still be cool.   And since the Talking Heads his music has become more serious and dense. Now that Nerds Rule The World it’s great to see him doing a Happy show and seeming to accept his Aspergers, as the world has accepted being a nerd.  Good for him.

Be a nerd Bob, it’s the new way now.

Ron Hill

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David is brilliant, the live show on Broadway was brilliant, the HBO rendition is brilliant.

I worked with Talking Heads from 1977-1984, their formative years.

I first met them at The Rathskeller in Kenmore Square/Boston in ’77, there were maybe 25 people in the place.

It was evident then how creative they all were, poised for longevity and greatness; not just David, but Chris, Tina and Jerry as well.

See it again, let yourself fall into the experience, turn the volume way up.

Watch out, you might get what you’re after!

ted cohen

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I desperately wanted to like this show, but sadly it was disappointing.

Mitchell Cohen

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I haven’t seen the movie — and won’t bother, based on your comments — but I did see the show, was very lucky to have seats close to the stage, and it was a gas, just magnificent, you could feel the connection with the audience, the fun, the enjoyment, he was playing just for us, as were his percussionists, dancers, and guitarist.  He looked me in the eye a few times, played just to me for a few nanoseconds.  Yes, his voice (never great) has lost some shine, and his limbo move doesn’t go as far back as it used to, but all that made no difference, it was still a totally enjoyable, memorable experience.  It’s gonna restart on Broadway some time next year.  I’ll be seeing it again.  I recommend it to you.

Bob Borque

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Yes, god, it was so boring I only watched about twenty minutes of it. He showed no interest in what he was doing, and the fact the he, like Roger Waters, is still living off of 40-year old material is quite sad. As you say, perhaps you had to be there, but the barefoot marching band schtick might have been avant garde in the 80s, but it just looks like a cliché now.

Kirk McElhearn

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This was very unfriendly, both shows were excellent and I am not alone. Why must you be divisive? The interviews, thought provoking and creative output have been a guiding light in these unprecedented times for so many. We have even watched the HBO special more than once with the whole family and I have heard from many great humans and great minds how brilliant and well done the show is. One if the silver linings of this pandemic is the fact that it has been bringing good people together around relevant topics.

Kirk M. Sommer | WME

(Note: WME is David Byrne’s agency.)

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Having seen the show live, this was not it. This is also why adaptations of musicals become movies rather than just a film of the show. I felt much the same about Hamilton, though perhaps letting so many see it was worthwhile. It was just not the same.

Robert Heiblim

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good points Bob. the HBO show was meh. And if they’d had the original band playing, tina and chris and jerry it would’ve been great. That band cooked! And live they rocked! Those song’s presented in this way wasn’t rock or art, it was just weak.
Owen

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Hate to critique/nitpick, but the the soundtrack was put out on Nonesuch well in advance.

Thanks for all you do!

Matt O’Donnell

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It did have a soundtrack, released last year

Adam Scharfberg

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No, you’re not the only one – I didn’t care for it either. It wasn’t exactly bad, but I’m not even moved to articulate what it lacked or why it didn’t get me off. What did they say 5 yrs ago? “Meh”?

Rob Wolfson

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I don’t know why I don’t unsubscribe. I disagree with virtually everything you say…. from politics to David Byrne. Opinions are like assholes. Everyone’s got one…

Nicole Sandler

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Always appreciate your opinion, but couldn’t disagree more. Not sure we watched the same thing. His voice sounded incredible, the music was instantly gripping, the visuals were like nothing I’ve seen and I felt like I was there.

Far more meaningful and thrilling than Hamilton, or any bloody show I’ve seen in years, live or on screen.

Daryl Shawn

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I really tried to watch it and in the end I napped to it.

I like guys who are brilliant like this but it is artsy, Warhol, Lou Reed pretentiousness New York stuff to me.

But Byrne does fascinate me.  He follows his muse.  I just like the way Dylan and Neil Young follow theirs better.

Michael A. Becker

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I just watched this last night. I think he is a genius. True blue.

But Spike Lee’s direction was at times sloppy. I am not sure if this was filmed on multiple occasions / performamce nights, but the splicing was bad and Byrne’s hair length seemed to change back and forth.

However, it was nice to have a live show experience again sort of.

AND, it reminded me of how fresh DB can be – in small doses. And it inspired me to find Stop Making Sense on Youtube and re-watch that.

https://youtu.be/4xL7Ilh1DFI

Paul Koidis

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I hear you Bob

A ray of sunshine in the darkness is LIVE will explode when we get this behind us

The Phoenix will rise from the ashes and I for one expect it to be a revolution inspiring the next wave we been waiting for…

I certainly hope so…

**I used to own The Splash Club a groundbreaking venue in the 90’s breaking many bands and worked with Womad Real World etc before working for Placebo management and promoters Riverman in Asia and the Bangkok 100 pipers festival with Oasis Stone Roses Placebo Franz Ferdinand etc after that

Ben Steadman
London

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We saw the show on Broadway and it was AMAZING! Didn’t see the HBO effort because, quite frankly, we figured it could never match (or come close to) the live experience. You’re absolutely right about the demise of the arts. I keep wondering when the Big Business Suits are gonna start Rollerball as a way to appease the masses…

Michael

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Maybe I did enjoy the filmed performance because I did see it on Broadway last fall.  There’s only so much you can do with a bare floor and a shiny curtain, but I thought the unusual shot choices worked and it reminded me of how much I did enjoy the show. Since the holy grail of a Talking Heads reunion is unlikely, I was happy to take this over nostalgia.

Tim Redman

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I agree completely. And I really like David Byrne.

You’re also right about artists in this country, no one values them–especially if it’s gonna cost them money.

Rik Shafer

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I had the same reaction as you did, Bob. Filmed versions of live stage events do not work for me either.

Morley Walker
Winnipeg

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Yes Bob, you are quite literally the only one.

Ron Hill

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Dude – this is Art on Broadway, not a rock show in a stadium, or a club, or a joint – and not intended for Spotify! David Byrne has always been an artist, first and foremost – music just its principal expression. Despite a few elements that I regarded as a tad too overt as political statements, American Utopia is Art created from and for the heart, and to this heart here – succeeds wonderfully.

Malcolm Clark

_______________________________________

Needed a soundtrack album? The live cast recording has been out for a year.

As for the disservice to the live show, the original plan was for this film to be out after the return run had already hit Broadway. The show would’ve made its money and anybody who missed it could catch the film. Not sure what the HBO terms were after things were delayed, but they’ve since used it to launch sales for rescheduled dates… which could end up being postponed again. The core tenet of the show – the need for community – is especially resonant now, so I can understand the thought behind releasing it before the show resumed. Damned if you do, damned if you don’t.

David Conklin

_______________________________________

You obviously did not catch this tour live. It was brilliant. I’ve watched at least four times.

Lori Halloran

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My wife & I really enjoyed American Utopia and have recommended to others.

Clarke Kelly
Baltimore

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For what it’s worth, there WAS an original Broadway cast album, recorded live.

https://open.spotify.com/album/71tl4k4k63o0gHt6mDj0IR?si=x7QESXPFT0mMcvtq2B-cEQ

David Basskin

_______________________________________

“…and Hamilton on Disney did not work….” maybe not for you, but it sure did for me (I had seen it on broadway, 3rd cast) and for my family (never saw it, from Australia, virtually no understanding of the story and had never heard the soundtrack).

One of your lesser hot takes, Bob.

Phil Bonanno

_______________________________________

If that didn’t move you, you must be dead already.

Drop your rock ‘n roll pedigree, your good old days, the future is now. We may never have live performances ever again. Just wait till tRump regains his throne. Amy will ban IVF and health care is gone except for rump’s 100k cure. Then you will appreciate “Burnin’ Down The House.”

David Byrne’s voice was spectacular. It was honest and direct. All with no props. Playing and singing. No wires, no shoes, no distractions. Great songwriting and lyrics more relevant than ever. Presence.

Gillian Welch wrote “Everything is Free.”  Not all content has a monetary value. Check out Little Steven’s Teach Rock website. That’s what you do when you have real money Bob. Educate. Don’t denigrate.
Signed
BLUESMAMA
Teacher in Swampscott, MA

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Bob, you’re right and wrong.
Bruce on Broadway was magical.  The video of the show was one of 10 best live concert movies I’ve ever seen.   But not as good as the best ones like The Last Waltz or Woodstock which fit the concert into a wider social context, making the whole experience deeper.
Hamilton is the greatest musical created in my lifetime.  The video of it was outstanding.  My 14 year daughter, who has seen Hamilton twice and knows every song by heart, sat enraptured for every second.   Not nearly as good as the live show, but that’s an impossibly high bar.
Can’t wait for live shows to resume in 2021, but until then I relish what we have.
Rob Glaser

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Haven’t seen it on TV, yet…but fucking loved it live, here in Boston.  Although it took all of them to do what Chris Frantz and Steve Scales did on their own!

Hugo Burnham

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In the crowd that I hang out with the answer would be yes Bob you are the only one that thought it wasn’t good. I thoroughly enjoyed it. I loved the treatment of the songs. I thought it was very creatively minimally staged and brought the accent into the music and the dancing and he had some great talent on stage with him and all of it was live.
Unwatchable? Hardly
Peace, Jason
Jason Miles

_______________________________________

Exactly!  I saw it live twice.  Don’t know how you can capture it on film.  You need to see the whole show and the whole stage at once or it doesn’t work.  I will not watch this version.

Ed Maier
ElmThree Productions

_______________________________________

I was at the first show of this tour with Ashko, the accomplished guitarist.

The show was at the Count Basie theater in Red Bank NJ, on a Saturday Night deep into October 2018.

The show had been sold out since the tickets went on sale. Living in the area, I’ve had a membership to the theater for years, yet we were still unable at attain a seat.

To get in, we resorted to the old school method of scalping tickets! – this show was hot and it didn’t matter that it was small town america.

Once inside, there was announcement before the show started that requested we do not film for photograph the show, as it was the first night of the tour and there were kinks to work out that Byrne didn’t feel was right yet, but the show must go on.

Byrne opened with the upbeat dance track “Lazy” that I know from the DJs spinning over my years doing engineering and tech work on the Euroclub scene. The tunes put the crowd on their feet and kept them there all night. The visual presentation and sound were phenomenal in person; way better than the small screen.

While I broached that topic  – what gives, why is the big screen experience dead! Nothing captures like scale and tv has none of it. 5 watt tv speakers can’t reproduce the sound of a massive PA system.

But I digress…

Back to the show:

From there he dove into a medley Talking Heads favorites and solo work, including a rendition of “Flowers” that closely mimics his work with Caetano, the Brazilian musician.

This show was an excellent experience that was not properly presented for the small screen.

Oh well, it’s a different world and I have a large projection screen and a killer sound system to enjoy the future with…

Albert Bale
Bale Technologies, LLC

_______________________________________

I saw it live on Broadway last fall. Sixth row, center seat, small theater.

It was wonderful.

But I also saw Talking Heads in Austin in 1977 at the Armadillo World Headquarters, long before they had anything recognizable besides “Psycho Killer.”

They were phenomenal.

The 1980 Talking Heads tour with the extraordinary Dolette McDonald on vocals was incredible. You can find it on YouTube.

And of course we all know about Stop Making Sense.

But the bottom line – as much as I loved Byrne and company on Broadway, I just keep thinking –

Why won’t he put Talking Heads back together???

They’re all still alive, well, and musical.

During the Broadway show, you could feel the entire theater practically LEVITATE every time they performed a Talking Heads song.

Wouldn’t you love to see the four of THEM together again – live OR on film??

I would.

NELSON DUFFLE

_______________________________________

Oh dear, Bob…I could forward you any number of comments from friends around the country, who LOVE the Spike Lee treatment of the show.

i like the film…not quite the same way I loved  the two  times I saw the show on Broadway…which WAS thrilling indeed…I glowed for a good while afterwards…but pretty great.

I have one friend who thinks that Spike’s treatment enhanced the experience, but I think that’s a bit of a stretch. Yet, for anyone who has not, likely will never see the live show, the film is really quite good.  I mean, you want to make room to dance in  your living room, or wherever…and if you’re alone watching, there’s THAT…but I’m having a hard time imagining just what set you off like that…

David Byrne has always had a somewhat quirky voice, which is part of his charm.  But he sounded really good live, I can say that, and I didn’t have misgivings about his vocal instrument while viewing the film.

As to the soundtrack in advance…it’s out there…the live recording of the show is readily available, so….what was your point?

Given my many very real musician friends, from serious jazz players to a wide variety of genres…and their positive spin on the film, some of them having seen the live show and others not, I think YOU missed the boat on this one.

Seriously.
Alice Barstow

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I haven’t seen David Byrne’s American Utopia, but nobody said Stop Making Sense did not translate to the big screen (not even Pauline Kael).
Be well,
Chris Frantz

I’ve grinned as I read each response as I too am a five decade Ian superfan.  But I had to write as no one yet has mentioned the single factor that vaults him into rarified air among my favorite artists….his ability to continue generating compelling art decades after his peers settle for milking the most from their glory years.

Pull up track ten from 2012’s TAAB2, A Change of Horses released when Ian was in his mid sixties.  Set your stereo to appropriate Tull levels, pull up the lyrics and see if this eight minute odyssey doesn’t speak to you like it does to me.

Resolute, the optimist
I ride fresh horse and carry on
Four hundred thousand hours
Have come and gone.

At 62, I spend my days meeting my insurance clients needs to meet the bills, but increasingly find I invest my remaining time in volunteer work as Treasurer for an underserved kid’s camp vs chasing new clients. Sometimes I feel a tinge of resignation that the “go get ’em” years are behind me, but I’m an optimist at heart so my inclination is to look forward rather than back.  And decades after Ian’s art first spoke to me, he’s still speaking to me and putting a bounce in my step at 62 as I look forward!

Long time reader who enjoys every post,

Pete Reardon

____________________________________

Thanks to this band I had the best line of the night at a NARAS function years ago.  We were going around the room introducing ourselves and indicating our area of expertise.  I recited my name and mentioned that I was currently producing a gangsta rap tribute to the music of Ian Anderson, entitled “Death Row Tull.”  Took a beat or two for people to realize I was kidding.

Bob Paris

____________________________________

Stand Up was the first album I ordered by mail order as a teenager in NZ from the then new Virgin Records. Fabulous album, and of course a great cover. Many years later I interviewed Ian Anderson by phone when, for some reason, he was in the US – a tour/new album perhaps – too long ago to recall. But I do remember him being very intelligent and courteous. A great body of work, shamefully underestimated and appreciated. Keep up the good work.

David Porter
New Zealand

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When I was in college outside of Burlington, we drove over to Plattsburgh State to see Jethro Tull. At that point you had to drive north almost into Canada to get from Vermont into New York. ‘Thick as a Brick’ had just been released. John Evan had been hired to play keyboards. Anderson, Barre and Bunker along with Glenn Cornick rounded out the band. In your original article and all the subsequent responses, no mention was made of Mr. Cornick. His bass playing was so critical to Tull’s sound, especially on ’Stand Up’, my favorite. And how cool was that Gibson Explorer?

Dan Daly

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Tull was the music scene when I was in senior ‘study’ hall on LI high school. Aqualung! I absorbed and later bought earlier stuff in their catalog. TAAB was as a symphony. Incredible. Why they are not appreciated these days is dead wrong! And BTW I love ‘One White Duck’ etc from that one!

David Bodnar

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Just to add to the memories of Jethro Tull.

I first saw them at the Nottingham Albert Hall in October, 1970. It was the classic ‘Benefit’ line-up. They’d just returned from the Summer US Tour. They played ‘To Cry You A Song’, the re-tooled ‘Dharma for One’ and ‘A Song For Jeffrey, to name but a few. They were a fierce band and the Martin Barre/Glen Cornick axis worked superbly well.  John Evan was great too and so musical. He’d yet to develop his zany stage presence.

I saw them again three years later at Wembley Empire Pool playing ‘A Passion Play’. What a contrast to what I had come before. It was a shock to the system. But I stuck with them.

A year later, I was the music correspondent for the University Of Manchester student newspaper. I had tickets for Jethro Tull on the ‘Bungle On The Jungle’ UK tour. I got a tip off on the hotel Ian and the band were staying at. So being an intrepid reporter, I staked out the lobby together with a photographer and waited. Sure enough, Ian walked in and we intercepted him. He wasn’t very happy but said he’d do an interview. He connected us with the Chrysalis PR guy who was on the tour. I think his name was Chris. Chris kept us busy for the rest of the day and we hung out with him at his hotel (The Manchester Piccadilly). I really thought we’d get an interview. But alas, Chris was a Chrysalis decoy. Can’t blame him. He was just doing his job. I still have fond memories of that fleeting meet-up with Ian in the Manchester Central Hotel.

Yes, Jethro Tull should be in the Hall Of Fame.

andy jones

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Damn you Bob!
I thought I was on hiatus from buying any more remastered CDs. But now, with the Wilson remixes, here I go again.

Loved your commentary on the band. I would not have even commented had the accolades stopped coming. But….

I have been a fan of Tull since the 60’s. Saw them several times throughout the late 60′ and 70’s in Chicago. 2x for the THAB tour. That they could create the same ambiance live as the recording is still a mystery to me. One thing I can say, they were even more awesome in concert than they were on vinyl. Sign of the times, I guess.

Loved their music then, still do now. Thanks for bringing focus back to such a seminal group! I’m listening to the MFSL version right now, and would not trade it for the world.

Keep up your good work. We all appreciate it!
Cheers,
Tom

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492 letters and no love for Broadsword and the Beast??
(Just kidding I didn’t really count but damn)
For a 14-yr-old into Tolkien and D&D, this was the perfect album.

Jon Langston

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“The second time was when they played Stony Brook University on Long Island on 4/25/71”

was at that show too!

Michael Fremer

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I’ll just say that, to me, that “Thick As A Brick” was when Tull jumped the shark. This Was, Stand Up, and Benefit were GREAT. Everything they attempted after that was “meh” – poor imitations of the aforementioned albums. – Mark Towns

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Greatest album jacket of all time… STAND UP !!!

Kenneth Frankel

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My first concert was Tull at Cincinnati Gardens 1972.    Fat Mattress opened.  Tull played the whole TAB album including some dude hopping on stage in a bunny suit.  My favorite band early on!

Tim Pringle

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+1 for “Wond’ring Aloud”.

Daniel Schwartz

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Wish you had included my favorite line from “Inside” after “sitting on the corner feeling glad, got no money coming in but i can’t be sad”, here it is:
“that was the best cup of coffee I ever had”.

one of my favorite lyrics from any lyricist.  it just really captures the essence of freedom and being young, or in my case, retired.

cliff keller

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No one mentioned so many brain cells destroyed by all that weed smoked to aqualung.

Steve Tipp

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Thought this might interest you.
I am friends with my brothers old art instructor, Burt Silverman.
His painted was used for the cover of “Aqualung”.

I thought you might enjoy reading this story.

The painter behind Jethro Tull’s Aqualung cover is still haunted by its success: https://theoutline.com/post/4490/jethro-tull-aqualung-cover-artist-burton-silverman?zd=3&zi=gxkb6h42

Steve Isaacson

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I was fortunate enough to work for WEA in the 70s in Chicago and you knew that regardless of the FM rock format, the stations played Jethro Tull. No exceptions. And while Ian could be bit prickly at times, you knew that his focus was the music. Why Tull isn’t in the Hall is a travesty.

David Hersrud

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I receiived the 8 Track ‘A Passion Play’ for Christmas
from my cousins.

A quick listen, and I thought it was rubbish…

In all fairness, I was only 12 at the time.

I have not listened to that recording since, but still
have the 8 Track around some where and a working
8 Track Player.

I should give a listen. Of course spotify would be a touch
more convenient.

Cheers

Mitch Nixon

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I was not surprised to see the number of comments to your post about Jethro Tull.  Even 50 years later Ian Anderson’s last concert in Forest Hills, which I attended,  was sold out.

I hope you’ll allow me to add one more to the pile:

In 1974 I attended sleepaway camp in upstate New Yrok.  For the annual talent show, I recruited my bunk mate to accompany me on  acoustic guitar while I  belted out  a rendition of  “Locomotive Breath” onstage in front of the whole camp. (I remember I had to slur the words “got him by the balls” lest I offend the camp administration)  It was the first time I had ever sung anything on stage in front of an audience.  Happily it was a big hit and I got a rousing ovation.  I also heard that as a result of my performance the prettiest girl in camp now wanted to date me, which I proceeded to do for the rest of the summer. It was the first and only time I got to feel what it’s like to be a rock star.  Thank you Jethro Tull.

David Ehrlich

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I was a fan at 14 since Aqualung and of course then I bought Benefit, Stand Up and This Was which are three very different recordings.
Thick as a Brick changed my life as much as Close to the Edge and Tarkus did at the time and I was a huge fan. Passion Play was a downer as was Topographic for Yes but I loved Warchild, Songs from the Wood, Minstrel, Heavy Horses, Stormwatch. Broadsword was and is an absolute masterclass.
I met Ian outside the stage door at Manchester Free Trade Hall in the mid 70’s. I forget which tour as I’ve seen them so many times but he was drinking a bottle of Lowenbrau. We spoke briefly and this was when he still had the rich thick northern English accent. I asked him for a beer and he gave me the bottle he was drinking. I had met my hero.
Fast forward to the mid 90’s and several unremarkable JT albums later I was General Manager at Zomba Records in the UK and was invited by John Taylor at Virgin Retail (who knew I was a fan) to attend the party for the opening of their new store in Richmond where Ian would be playing a short acoustic set. John took me meet him after the show. The northern accent was gone, he was sublimely arrogant and talked about fucking gravadlax. I’ll never forget the disappointment but I still love and play the music. A hero – not a nice one – but a hero nonetheless.

Andy Richmond

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I went through at least 2 vinyl copies of TAAB and Passion Play. I was a huge fan. The creativity has remained with our generation as what music should be. My university students once told me about that time, “We don’t have bands like that today.”

But, like many of your readers, I immediately remembered the shows of those albums. BTW, the roadies put on the trench coats one by one. So the crowd slowly noticed. I saw the Passion Play tour before hearing the album, thankfully. Seeing it live first was great.

About 10 minutes before the show, house lights up and the crowd talking, we noticed that “something” was different…a sound. We stopped and listened, but couldn’t discern anything over the room noises. A few minutes later, definitely something now. Later, sounds like a heartbeat? Yes. It got louder, oh so slowly and disturbingly, as more people noticed. Up until the lights suddenly came down and the cover photo appeared on a large screen above the band, heart loudly pounding. This eventually started to move and dance. Very bizzare. Can’t remember the rest of the soundtrack but the whole experience was fantastic in itself. Then the band hit, played the entire album and more. I think their greatest live song was probably “Cross-Eyed Mary.” They killed it each time I saw them.

Exciting times!

Robert Bond

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Tull’s first states date was in the middle slot of a three act night at the Fillmore East in late January, 1969. Blood, Sweat and Tears was the headliner. I Don’t remember what act had originally been booked to open, but they were a late scratch and Bill got the Gay Despardo Steel Band to do the honors and he had them stream in down the aisles, steel drums pounding, to take the stage.

Even though most were there that night for BS&T, WNEW had created a bit of a buzz for this completely original and unique sounding band with a lanky, scraggly, flute playing front man, so there was a decent contingent there that just had to see witness this band live.

Ian and the band’s set that night was riveting. Encores weren’t routine those days – especially for non-headliners , but the level of pandemonium when Tull’s last note sounded was too strong to deny them one. Ditto the second encore, and there would have been a third, but the band begged off, saying someone wasn’t well enough to do another – an excuse that might have been a courtesy to David Clayton Thomas who had made a point of getting them back on the bill after Ian had been unable to perform due to illness at a previously booked date with BS&T at the venue.

Unfathomable that neither group is in the Rock Hall Of Fame.

Tom Starr

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One more note on Ian. I was at the Byron Bay Bluesfest in 2017 with my management client Jake Shimabukuro and we had dressing rooms in the same area as Ian and the Tull band. He walked outside near the small pond and i figured i would at least try to say hi to see if he would respond as i have heard he is not easy to approach. I said hello and told him i enjoyed the tour at the Ryman he had done showing videos at times during the show that he had recorded at his home and the stories he told. He said he appreciated that I enjoyed that tour as many of his fans did not. He mentioned most fans want the same show they had seen before. He thanked me for my comments, kind of smiled and wished us well. I have to say i was relieved that he did not tell me to f off which i had expected. Then he proceeded to play one hell of a Jethro Tull set! I often go to Apple Music, hit shuffle on Tull and pass the hours away still in awe of the music. Thanks Bob

Van Fletcher

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Our Ian Anderson Story…

My band from Canada called The Tea Party found ourselves in the UK for the first time in 1994.  We decided a tour before our debut record was released was a good idea but alas we were a bit ambitious and we were unfortunately off of everyone’s radar.  The tour weaved it’s way through the English countryside stopping at all the small pubs on the touring circuit including the small Princess Charlotte in Leicester, which was made famous by hosting Radiohead, Oasis and Coldplay on their first tours. We finished soundcheck and tour manager said someone wanted to say hello in the back room.  We entered the small room and we were announced formally, “The Tea Party please meet Ian Anderson” It turned out that Ian had signed a deal with Chrysalis and had got his hands and ears on our debut and wanted to hook up. It was a fruitful exchange of pleasantries.  He loved our informed take on retro rock and we gushed over his contributions to the canon of the aforementioned genre.  We made plans to record together but nothing came of it.  We’d try to hook up on the 8 or 9 subsequent tours but the schedules never aligned.

Cut to twenty years later when we are recording the title track to our Ocean at the End record.  Jeff Martin our guitarist and producer suggested I hop on the old mellotron and lay down a sympathetic flute line.  After a minute of doodling around I had an epiphany and it struck me that this song was perfect for Ian to join us on.  It had been so long since we spoke but we hooked it up and he laid done two incredible tracks for us to include on the song. We were in headphone bliss once we tacked on a bit of reverb and delay.  The studio in Toronto, Revolution Studios, had an egg chair with speakers retro fitted into it.  It was an ideal place to trip out to the rough mixes.  We were blessed to be able to work with him and we’ll never forget his kindness.  Looking forward to Ian and the rest of Jethro Tull’s eventual induction into the RRHOF.

All the best,
Stuart Chatwood
The Tea Party/composer

Link to our 8m30s song featuring Ian Anderson of flute, The Ocean at the End (about 1/3 of the length as Thick as a Brick (Pt.1)!
Youtube:
https://www.youtube.com/watch?v=wPhAxKBmZz8

Spotify:
https://open.spotify.com/track/0YsOBNMmUKB1nTdlqUUcY4?si=yJK4MA4_S4KuPXzYRYL5SA

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Back in the ‘70s and ‘80s, Jethro Tull was the best live band on the road.  We’d go see them every time they came through Los Angeles.  We saw pretty much all the classic rock bands through the years, and nobody put on a better live show.  Between Ian Anderson’s songwriting and showmanship and Martin Barre’s guitar work, there just wasn’t a rock and roll band that did it better.  Many times we’d see another concert the same week that we’d see Tull play, and there was never a comparison.  As soon as they started, we’d look at each other and just say, “now that’s how it’s supposed to be done!”  You could, see, hear, and even feel the difference.

We’ve never worried about whether our friends liked Jethro Tull as a band or whether their music appealed to them.  Their sound was unique and everyone has their own taste in music.  For us, their music is certainly one of those we go to whenever nothing else seems to hit just right. We doubt Ian Anderson cares whether the politically skewed “R&RHoF” inducts them or not. They have certainly inducted a handful of bands that don’t belong, devaluing the whole institution, while ignoring a number of quality artists who belong.  It’s all politics, not rock and roll.

Jethro Tull’s “Songs From The Wood” is probably THE “comfort” album for us… one of the dozen or so albums we go back to that just brings back a special time and feel and that we can listen to all the way through any time, any day.  Definitely a top album and right up there with “Stand Up,” “Aqualung,” and “Thick As A Brick”.  And we do think that “Heavy Horses,” “The Broadsword and the Beast,” and “Rock Island” are under-appreciated… and probably always will be.

It was great reading your TAAB review, and equally great reading everyone’s comments about one of our favorite bands.

As always, thank you!

Russ & Julie
Russ & Julie’s House Concerts
www.houseconcerts.us

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Long time reader (over a decade), first time responder.

Back in the late ’60s/early mid-70s when I was a total prog rock snob drummer (before I got hip to The Groove in the late 70s), Jethro Tull ruled my world, had their first five albums and wore them out multiple times, though I didn’t really get the first two until acquiring Benefit, and then Aqualung and TAAB, that’s when they all suddenly made sense.

JT first showed up on my radar back in 1969, when I happened to see a PBS TV show featuring them at the Newport Jazz Festival as a trio, Mick Abrahams had just left, their unique flute-based Jazz trio sound turned my head around, had never heard anything like it back then… Ian’s captivating flute stylings also turned me on to the great Rhasaan Roland Kirk years later, but that is another story for another time…. And Clive Bunker…! One of my early drum idols, a true drumming heavyweight.

I was fortunate to see most of the great rock touring acts of the time — Deep Purple, Uriah Heep, Argent, Ten Years After, Iron Butterfly, Edgar and Johnny Winter, etc, etc (regrettably missed Jimi, Cream, and King Crimson, I was too young)… The only live show that could top JT at the time imho was the legendary Led Zeppelin, I was one of the 58,600+ people who saw the Tampa stadium show the second night of their HOTH tour, on May 5th 1973.

First saw JT during their TAAB tour in 1971 (took my SAT tests the next day with no sleep, did much better than expected) remember the entire show and encores, also saw their Passion Play tour in 1972 (don’t remember any of it except for the dancer, stage schtick, and the encore reprise of TAAB and Aqualung), and most recently their 25th Anniversary tour in 1994.

Back in ’71-’72, their live sound was best in class, utilizing 16 of those John Meyer designed high fidelity Tychobrahe PA cabinets… JT live was the only act of the era imho that could compete with my dual pair of Advents / Harman-Kardon / Gerard / Ortofon stereo system for sonic quality, carefully bought with odd jobs and gig money, piece by piece, of course.

LZ’s sound was also great though not quite as accurate to me, with their Showco/Clair Bros mega PA system expertly mixed by the legendary late ML Procise, who later famously mixed ZZ Top etc, until he retired from the road.

JT’s live stage act and onstage schtick was memorable, even to this day, there was always something going on to capture your interest, often Ian acting bug-eyed hysterical, punctuated by something crazy going on in the vicinity of the drums and/or keyboards…

JT always put on expertly crafted live shows, well worth the $3.50/$3.75 ticket price at the time (I paid a staggering $6.00 to see Led Zeppelin in ’73…!).

That early 70s JT lineup was superb, though Doane Perry is still my favorite on drums, wish I’d seen Clive live (and regrettably missed the late Mark Craney)…

And Martin Barre? Absolutely essential to the JT sound over the years, just not the same without him, what an amazing guitarist and songwriter… Learned electric guitar by playing Aqualung and Locomotive Breath until I got it right, some of the very best classic riff rock ever, even taught the guitarists in my first cover bands how to play both these songs…

And why on God’s green Earth is JT not in the RRHoF?
How did this travesty occur? Somebody fix this asap, please.

Bob, many thanks for the Steven Wilson remix mentions, I had somehow totally missed these, am rebuilding and completing my JT collection with these as soon as they arrive via Amazon, have my Sennheiser 580 headphones / tube amp at the ready…

Keep up the great writing Bob, always read your missives
as they arrive in my Inbox… Stay Safe, Be Well, All the Best…
=BobBB= The DrumBuddha https://DrumBuddha.com

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I hope you are well.  I should have written this note a few days ago, but I’ve just found a moment to share a vivid memory. It must’ve been around 1982 and I was working briefly washing dishes at a seafood joint in St. Tropez. While outside on a break one evening, I saw a  bearded man on the dock wearing what looked like a cape and playing a flute.  I walked towards him and sure enough it was Ian.  I moved a bit closer and just took in the amazing scene…

I was a massive Tull fan, and chancing upon the mighty Ian Anderson casually playing on a random dock was the greatest experience that I had in St. Tropez, and that’s saying something.

Be well,
Jeff Kempler
Lava

I hate to pierce the bubble on this, but am I the only one who thought this wasn’t good, ultimately barely watchable?

Byrne’s barefoot danceathon got raves on the road. And when the reaction caught up with the country, when the press finally realized what was going on, Byrne took the show to Broadway, in the wake of Springsteen’s talkathon, and did boffo at the b.o. But just like Bruce’s show, it did not translate to the screen, no way, just like Beyonce’s appearance at Coachella.

In other words, you had to be there.

In other words, you just can’t capture the live experience on film.

I could tell, watching this show, that to be in the audience would be a thrill. And maybe, even more thrilling, to be at a gig, outside, where many of the original shows took place, crushed-up, standing, moving your body, getting caught up in the excitement.

But there was no excitement in this show. You see filmed plays/musicals have never worked, which is why Hollywood always makes them into movies, from “My Fair Lady” to “Hello Dolly!” to “Who’s Afraid of Virginia Woolf?” You’ve got to take them out of the theatre, you’ve got to enlarge them. One person on stage alone singing works in a theatre, it does not on the screen.

Furthermore, may I say that Byrne’s voice has taken a hit over the years? Such that when you focus on it you can hear the flaws, but if you were there live you’d overlook them?

As for the numbers… This is a performance that needed a soundtrack album in advance. So you could familiarize yourself with the material, so you’d know it and understand it, like “Hair,” and ultimately “Hamilton.”

“Hamilton” on Disney did not work either. But, everybody knew the tunes, and you had a peek into a phenomenon. You felt you were let in on an experience that had evaporated, the original players/singers in the original performance. But it’s not like David Byrne is gonna disappear, at least let’s hope not.

But the hype was unbelievable! Spike Lee was involved! But what we really ended up with was a press clusterfuck. A self-referential bonanza of stories that left the public out. I’d say I was let down upon finally seeing the show, but that would be too charitable. If you watched the whole way through you are to be commended. And it’s not because we’ve got short attention spans, but because there’s so much else of quality to choose from.

And I can continue to denigrate the show and its publicity, but the truth is this was a great advertisement for live performance, something which is absent today. I could tell if I was there, I’d dig it, I’d have a story to tell. And, in an era where everything ends up on YouTube, it’s still not the same as going. Actually, I’d say filming this show did it a disservice. It eviscerated all of its magic. Which was about movement and instrumentation and choreography. You had to be there.

In an era where everything is easily duplicated, it turns out the ephemeral is what we’re really interested in. Something done once, for us. And sure, there’s the benefit of the shared experience with those who go with you, but it’s the little, out of the ordinary moments that make a show transcend, a cover, a speech, a mistake…we like to say we were there, we like to believe we experienced something special.

But watching David Byrne on HBO we felt like we were at a movie. Even worse, a movie of other people’s experience. It was static, we all saw and felt the same thing. Whereas at a show you’re constantly shifting to get a better view, you can feel the bass and lock eyes with those you know and don’t know and smile.

Unfortunately, the performing arts get no respect in our country today. They’re the glue that keeps our culture alive, but the government refuses to save them. Sure, we’re trying to Save Our Stages, but the truth is the live business is caught up in a battle between the right and the left, no agreement can be made, being part of a bill that does not pass is a pyrrhic victory.

Even worse, as taxes have been lowered, as the arts have been excised from school, our feeder system has been compromised. You cannot teach inspiration, but you can nurture it. Instead, we teach to the book, we turn out automatons, who end up graduating without good paying jobs anyway.

I’m not saying that everybody is entitled to make a living in the arts. I’m not saying that the government needs to sponsor everybody who thinks they’ve got an artistic gift to the world. But if we’re saving farmers, if we’re subsidizing energy producers, can’t we eke out a few shekels for live performance, which ultimately brings us together and makes life worth living?