That could easily be. Arrangement and even structurally the compositions are closer to The Zinc Album and U.K. than Ian’s typical writing. My belief is that Ian wrote the general structure of the songs, but, let Eddie stretch them out a bit, delay the conclusions and introduce submotifs throughout. In a way, take them closer to symphonic pieces than typical Tull (though, there was always some of that in all of Tull as well). There was a reason Ian was looking to work with Eddie. Also, there is a certain speedy precision that Eddie is capable of that few others can achieve. There are so many examples, but, listen to Let Me Take You To The Beach by Zappa. No one else could have played that.
That's interesting, considering that Tull's drummers from 1982 through into the 1990s were Gerry Conway and Doane Perry, neither of whom sound the slightest bit like Terry Bozzio. I wish Mark Craney had stayed on with Tull. His work on A was phenomenal.
Funny thing about Eddie is that in the Tull family tree in the 20 Years of Jethro Tull box set, he is described with the words, "writes high-tech advertising jingles". I wonder who came up with that.
As mentioned there are several good audience recordings, I said it because these versions of TaaBrick were extended upto 80 min which is as long as it got.
Yeah, so that article was published after their experience with Gerry Conway, so Ian was looking for someone different. Doane is more technical than Gerry and Bozzio wasn't interested so they settled with Doane I think. Quite a lap of luxury for him. For post 80s JT drummers my favorite is Mark Craney.
I think if Mark had played on more Tull albums (especially better regarded ones -- I've always liked A, but apparently a lot of people don't), he would be considered equal to Barrie and Clive. I've never been entirely happy with any later version of the band partly because the drummers have lacked fire. Doane was very capable, and I certainly preferred him to Gerry (who was great for Cat Stevens, but a strange choice for Tull), but there's a propulsive energy to Mark's and Barrie's playing, and a jazziness to Clive's, that Doane didn't have.
The problem I have with Doane is not so much his playing but the sound of the drums on the albums he played on.
I always have time for those Tull albums and I do appreciate Danger Money of course. UK was great in both iterations.
Indeed there is an UW tour show online where he and Vetesse is doing a joint solo. Doanne plays fantastic there.
Doane Perry hasn´t been recorded by JT at his full capacity (studio). We come close on tracks like Farm on the Freeway and Dangerous veils. But if you listen to the live take of Nothing is easy from Paris 1999 (can be heard on the 25th box set if I remember correctly), you´ll hear what he was able to do. At all concerts I have visited, Doane has been a powerhouse drummer. I also saw Tull with Dave Mattacks in 1992. His more simple style, didn´t sound that good in Thick as a brick. But he did a good job on the more stripped down "A little light music" album.
I'm going to see what Burning Shed offers. I ordered Heavy Horses from them and got a postcard autographed by Ian. Ideally I'd buy the set in person at a brick-and-mortar store, but there aren't many left near where I live, and I don't yet feel comfortable going into too many stores. (I haven't had a haircut in almost a year, which has provoked commentary during Zoom calls with relatives.) Someday I'd really like to go back to the Sound Garden in Fells Point (Baltimore) - it's now the closest shop to me that's a real record store rather than a franchise full of t-shirts and Funko Pop dolls and a token rack of current releases and reliable perennials.